Atomic Kitten "Right Now" - From Flop to Pop Classic | CCTV: The Nonstop Pop Show

To celebrate the 25th anniversary and long-awaited vinyl release of Atomic Kitten’s debut album "Right Now", we’re diving into the version that finally made them stars: the 2001 re-release featuring Jenny Frost.In this episode, Chris and Chantel Nicole give a track-by-track honest review, comparing the Kerry vs. Jenny versions, the original 2000 UK release, the Japanese edition, and how "Right Now" evolved from a commercial disappointment to a true British pop comeback story - thanks to the massive success of "Whole Again".Join us on Patreon!: https://www.patreon.com/CCTVPOPS

0:00 - Intro
0:51 - "Right Now" Album Info
2:19 - Album Covers
6:30 - "Right Now"
19:36 - "Follow Me"
29:21 - "Whole Again"
45:03 - "Eternal Flame"
54:22 - "Tomorrow And Tonight"
59:29 - "Get Real"
1:04:52 - "Turn Me On"
1:09:54 - "Hippy"
1:15:48 - "You Are"
1:22:47 - "Cradle"
1:29:39 - "Bye Now"
1:35:38 - "Strangers"
1:41:43 - "See Ya"
1:48:56 - "I Want Your Love"
1:56:32 - Cut or Keep
1:58:37 - Overall Thoughts & Final Rating

References:

“Right Now” MV https://www.youtube.com/watch?v=Yynstc_bFRE&pp=ygUXYXRvbWljIGtpdHRlbiByaWdodCBub3c%3D
“Right Now” Live on TOTP https://www.youtube.com/watch?v=3zgz_pVkvcs&pp=ygUcYXRvbWljIGtpdHRlbiByaWdodCBub3cgbGl2ZQ%3D%3D
“Right Now” Live on Childline https://www.youtube.com/watch?v=7_5L8i4cE6g&pp=ygUiYXRvbWljIGtpdHRlbiBqZW5ueSByaWdodCBub3cgMjAwMQ%3D%3D
“Right Now 2004” MV https://www.youtube.com/watch?v=NcdpvPrhFiw&pp=ygUXYXRvbWljIGtpdHRlbiByaWdodCBub3c%3D
“Right Now” 2002 Tour Live in Belfast https://www.youtube.com/watch?v=xcWGLeXzfB0&pp=ygUdYXRvbWljIGtpdHRlbiBqZW5ueSByaWdodCBub3c%3D
“Follow Me” MV https://www.youtube.com/watch?v=YVmngi0pr9A&pp=ygUXYXRvbWljIGtpdHRlbiBmb2xsb3cgbWU%3D
“Follow Me” Live at CD:UK https://www.youtube.com/watch?v=rxi8I7p0eCA&pp=ygUXYXRvbWljIGtpdHRlbiBmb2xsb3cgbWU%3D
“Whole Again” MV with Kerry https://www.youtube.com/watch?v=K9B5JxwtZ0I&t=14s&pp=ygUZYXRvbWljIGtpdHRlbiB3aG9sZSBhZ2Fpbg%3D%3D
“Whole Again” MV with Jenny https://www.youtube.com/watch?v=1V0xQkk9kbc&pp=ygUZYXRvbWljIGtpdHRlbiB3aG9sZSBhZ2Fpbg%3D%3D
“Whole Again” US MV https://www.youtube.com/watch?v=1RYy_k6-rlc&pp=ygUZYXRvbWljIGtpdHRlbiB3aG9sZSBhZ2Fpbg%3D%3D
“Whole Again” Live at TOTP https://www.youtube.com/watch?v=XOD2lyElUh0
“Whole Again” Live at the Big Reunion https://www.youtube.com/watch?v=0gQ_MfAID7Q&pp=ygUeYXRvbWljIGtpdHRlbiB3aG9sZSBhZ2FpbiBsaXZl0gcJCU8KAYcqIYzv
“Eternal Flame” MV https://www.youtube.com/watch?v=aztY_fpjJeQ&pp=ygUbYXRvbWljIGtpdHRlbiBldGVybmFsIGZsYW1l
“Eternal Flame” Live at TOTP https://www.youtube.com/watch?v=Z0ZX7Rfwuh4&pp=ygUbYXRvbWljIGtpdHRlbiBldGVybmFsIGZsYW1l
“Get Real” Live at SM:TV https://www.youtube.com/watch?v=U5yxTuXGJL4&pp=ygUWYXRvbWljIGtpdHRlbiBnZXQgcmVhbA%3D%3D
“Turn Me On” Live at CD:UK https://www.youtube.com/watch?v=bOVdHb7gQqY&pp=ygUYYXRvbWljIGtpdHRlbiB0dXJuIG1lIG9u
“You Are” MV https://www.youtube.com/watch?v=5u-N_EtVESQ&pp=ygUVYXRvbWljIGtpdHRlbiB5b3UgYXJl0gcJCU8KAYcqIYzv
“You Are” Live at CD:UK https://www.youtube.com/watch?v=cealLv0qVUk
“Cradle” Japanese MV https://www.youtube.com/watch?v=6iO9C3hDu5U&pp=ygUUYXRvbWljIGtpdHRlbiBjcmFkbGU%3D
“Cradle” Original Mix https://www.youtube.com/watch?v=Oe0u-0xGL0s
“Cradle 2005” MV https://www.youtube.com/watch?v=O471IU1ZbSI&pp=ygUUYXRvbWljIGtpdHRlbiBjcmFkbGU%3D
“Strangers” Live at L2 Liverpool https://www.youtube.com/watch?v=u9Lbsza0-aY&pp=ygUXYXRvbWljIGtpdHRlbiBzdHJhbmdlcnM%3D
“See Ya” MV https://www.youtube.com/watch?v=I1VwkZvU8Vc&pp=ygUUYXRvbWljIGtpdHRlbiBzZWUgeWE%3D
“See Ya” Live at TOTP https://www.youtube.com/watch?v=30ujHk7fvWg&pp=ygUUYXRvbWljIGtpdHRlbiBzZWUgeWE%3D
“I Want Your Love” MV https://www.youtube.com/watch?v=iwsQFAwW_KM&pp=ygUdYXRvbWljIGtpdHRlbiBpIHdhbnQgb3VyIGxvdmU%3D
“I Want Your Love” Live at TOTP https://www.youtube.com/watch?v=e4iF04BG9LI&pp=ygUdYXRvbWljIGtpdHRlbiBpIHdhbnQgb3VyIGxvdmU%3D

00:00:00 --> 00:00:09 And do it to me right now, right now. Oh, my God, that was so good.

00:00:10 --> 00:00:34 This is CCTV, the nonstop pop show where we provide our unfiltered honest opinions on all global pop music. And we talk a lot of British pop music here. And we're finally talking about Atomic Kitten! Yay! Yay! So I've actually been a fan for over 20 years. And I've seen them live a few times actually, but this is the first time that you have actually heard anything apart from the singles, right?

00:00:34 --> 00:00:57 single i heard time is high but no i played you a few through the years i'm sure you have yeah we first did our british invasion into my brain you were like you'll be getting a variety of opinions today oh yeah so old fan versus new fan right so let's start with the debut album because it is celebrating its 25th anniversary oh

00:00:58 --> 00:01:24 Yes. So they first released right now in the UK in March 2000, and even a bit earlier than that in Japan. But they ultimately re-released it in August 2001 after the success of Hole Again, and of course the member switch of Jenny replacing Carrie as well. Right. And so the original UK release of the album peaked at number 39 in the UK Albums Chart, which actually did put the group at risk of being dropped, but...

00:01:25 --> 00:01:54 By the time they did the re-release over a year later, it was a huge success. It hit number one in the UK and found success all across the world, including Asia, which is why I knew Atomic Kitten so well. So we will honor this 2001 re-release for the episode today. There's a lot of other tracks, though, because the original Carrie version of the album is different. The Japanese version of the album is different. And then there's a lot of B-sides. So let us know in the comments if you'd like to hear us do...

00:01:54 --> 00:02:15 or talk about some of those songs as well. All right, so let's dive into right now. We'll talk about the production, vocals, visuals, performances of each song, and then drop our individual ratings. Drop your ratings too in the comments. And of course, viewer discretion is advised. Your fave will be criticized. Don't, don't, don't, don't.

00:02:15 --> 00:02:39 Alright, so before we get into the actual sonics of the album, we're going to get into the aesthetic, the visuals of the album covers. We have a Japanese release, we have the first UK release, and then we have the 2001 re-release. So we have three different versions of an album, and we got to see a lineup change in real time. We got through them. Alright, so starting with the Japanese one. Okay. Okay.

00:02:39 --> 00:02:59 I know it's so random. It's like, Japanese, why? Because thinking about the name Atomic Kitten just sounds like a manga or an anime. So I think it's just... Totally sounds like a J-pop girl group, for sure. Exactly. It sounds like something that sounds very perfect for that. And I love how colorful it is. You can see each other girl's personality. Natasha's reaching. Carrie's doing like...

00:03:00 --> 00:03:28 It's very colorful. It's very bright. It's very Girl Next Dory. And then you have the first UK release with the marquee. The cinema awning. Yeah. Yeah. Yeah, marquee, marquee. It's so serious. I don't know about that. Very odd choice, I will say. Yeah. I'm not in love with it. And I'm just trying to figure out what right now. Like, right now, what the heck is that supposed to mean? And rated R as well. Like, they were very young. Rated R right now.

00:03:29 --> 00:03:55 I'm trying. I'm reaching. Like, my back is itching. But we're doing what we're trying. It's very serious. Like, Liz and Carrie are doing their best not to smile. Natasha couldn't help but do a little smirk here. She's like, I might be too up. I don't know. This doesn't match the album at all. Like, the Japanese version totally matches the album. It's so bubblegum, so bright, very young and energetic. Yes. Yeah, this UK original release, it's not it. Do you think it's because they were trying to, like,

00:03:56 --> 00:04:14 You know, if you think about all the bodies of work that were out, you had like with the All Saints kind of vibe going. You had Sugar Babes. You had all these really cool people. And you have Atomic Kitten and they're like, yeah. So I think maybe they were like trying to match that like seriousness. Right. But it would have made them stand out more.

00:04:14 --> 00:04:36 Right, but having heard the four singles leading up to the album, yes, Follow Me was a little bit more serious, but those first three singles are as poppy as you can get. I know. No, you're so right. They should have leaned into it. So who would buy this album unless you kind of knew those three songs going in, you know what I mean? No, that's valid. Yeah. Anyway, well, then we have the ultimate 2001 re-release with Jenny. Mm-hmm.

00:04:37 --> 00:05:04 It's kind of just a regular photo shoot photo. It looks like they're in front of a window with blinds down. Stop. Yeah. Yeah. I mean, their hair has personality. I will say that. Yeah. Liz and her highlights here. I love Liz's like choppy highlight. I love the chunky, chunky highlight. I like the chunky highlights. And then you see like the shift in terms of like the two girls, Tasha and Liz look so like young. And then Jenny's like, I'm hot.

00:05:04 --> 00:05:21 Yes. You know, like the older sister, which isn't terrible, but it's very interesting to see like how like sweet and like young they look. And then she doesn't look old. Not saying that, but she looks like, hi, I'm your older sister. You want to get babysat too? Like it's, it's giving. Yes.

00:05:21 --> 00:05:43 But even the logo is like silver and sleek looking, you know, like all these little different kind of things matter, I guess, in terms of like the not genetic makeup, but the makeup of the group. I don't know what the thought process was. Maybe it was just random. I was like, hey, let's have a new girl. Let's just re-release this crap. Who knows? But I mean, it is amazing how big a difference it makes between Carrie and Jenny.

00:05:43 --> 00:06:01 Yeah. It's not just replacing Carrie with another blonde woman. Like, it's literally a very different energy. Yeah. And fully changed the Sonics as well. I mean, you could say whole, again, really kind of changed their whole direction. Oh, yeah. Sure. But yeah. So when they re-released it with Jenny, I think, so she did re-record...

00:06:01 --> 00:06:31 a lot of the songs they did remix a lot of the songs as well but then i don't think carrie was actually on a lot of the album so most of the songs i think they just were able to kind of you know keep it where it was and then they did put sia and i want your love in their original forms at the very end yes it's kind of like a back then kind of little section that's so funny oh my god i didn't notice that yeah yeah um all right so let's get into the album yes starting

00:06:31 --> 00:06:35 I'm gonna cry now. Yeah.

00:06:45 --> 00:07:12 So this was done by Absolute, Stuart Kershaw, and Andy McCluskey. It was released as the group's debut single in November 1999, peaking at number 10 in the UK singles chart. And the group re-recorded the song twice. So the first time was to replace Carrie's vocals with Jenny's. But again, they actually re-recorded it in 2004 for the group's Greatest Hits album, which peaked at number 8. Yes. All right. So right now...

00:07:13 --> 00:07:42 You know, this song is... It's maximum Y2K flirt pop. It's clean. It's bright. But built like a trampoline. Like, it's very bouncy. The strings in this song are so buoyant and bouncy. It sounds like a bunch of springs in a rainbow-colored match. But it's like, that's all I can think. Like, if I had to create, like, an imagery for someone... Hey, I generate an image for this song. I just think that the song is...

00:07:42 --> 00:07:57 really fun. And it is that disco that people do enjoy. But something about it is a little bit different because there is another disco-esque song on the album. But I don't know if it's as exciting as this one. A little mild, mild, mild spoiler.

00:07:57 --> 00:08:21 But yeah, I wrote like, I want a song like this. It's perfect. And also it's nice to hear girls that can actually sing. It's refreshing because I think if you have a trio and two thirds of that group can give you two different tones, you're in good hands. I mean, like if you think about like 702, it's very like three girls, two like strong singers. And then one is like giving you the looks and the vibe and

00:08:21 --> 00:08:45 That's fine. I'm okay with that. If you have like five people, then I'm like, what's happening? You know, I got to say with Atomic Kitten, specifically with Natasha, you know, my girl. I remember when you show me them on that reunion show. Yes, the big reunion. Yes, my big fat reunion. Because I keep mixing up big Greek wedding. Yeah. So I remember I made this face. I was like...

00:08:45 --> 00:09:05 Chris, what's he mixed with? And you were like, why? I was like, I don't know. I don't know. It's just something. But her tone, like, I knew there was some blizzack in there. You know what I'm saying? Not saying that she couldn't sing well without the genetics, but there was something in her voice that made me go, the ancestors are calling me. Like, I was like, something's...

00:09:06 --> 00:09:31 Very soulful. Yeah, there's something there. And I was like, this is not like one of those, like, ashy singer voices. I was like, I'm going to sing right there. You know, like, it wasn't like she was embodying anything. It's just her tone is just husky. And then you have Liz, who's pure pop, and it feels airy and bright. And has that slight, tight nasality that is perfect for pop. It's a good balance, because you have someone who can really give you that...

00:09:31 --> 00:09:44 oh baby and he has someone that goes that yeah baby and you need that yes that's right you need that in the group and then if you think about even with um carrie she is the youth yes

00:09:44 --> 00:10:02 energetically. So I think all around, not a bad group to have put together. And then lyrically, it is hilariously direct. So come on, baby, do it to me right now. Like, come on. It's a little dirty, but yeah. Yeah, a little bit. Because I was like...

00:10:02 --> 00:10:23 Give it to me right now. Do it to me right now. Before I knew the song, right? But I think that the meaning is wild, but the song is so fun. So you can kind of get around it, you know? Yes. We like that. I think also, you know, when we'll get to the visuals later, but like they also kept it very youthful. Yes. So it's kind of like, I don't think they really know what they're singing about. So it's okay. Okay.

00:10:24 --> 00:10:53 It's kind of one of those things. You think they didn't know? I mean, I'm sure they did. But when they performed it, they didn't do all that. Right, right, right. Natasha was sitting there. Hitting with the hands in there. Natasha, I love you. She said, you making me? And then Liz with her Bob. Yes. First off, this was produced by Absolute, who we love. Of course, they did a lot of the Spice Girls stuff. Say, open air. Who do you think you are?

00:10:54 --> 00:11:11 I mean, we reviewed so much Spice Girls. Like, it makes sense. You're right. Yes. Great production team. Because, yeah, it's just so much energy. It has so much energy just within it. So bubbly. It's just so much fun that the way they did it. Like, even the backing track alone is so much fun.

00:11:11 --> 00:11:28 Yeah, it is. You know? And yeah, I think this was a great debut song. It's attention-grabbing. It's catchy. You know, I think everything about it is just very attention-grabbing. Because, you know, you were belting it before we started. They are belting. Belting.

00:11:28 --> 00:11:48 You know, it's tough. Like, the verses are, like, full chest. There's no... Full chest. Everything. And there's ad-libs all over. From the first chorus, they're already doing those ad-libs as well. Yeah. It's so funny. Like, Jesus. And, yeah, I fully agree with you on the voice. I love the dynamic between Natasha and Liz. Yeah. Yeah.

00:11:48 --> 00:11:59 They balance each other out so well. And as you get into the album, when there's some very kind of pure harmonies between the two of them, it just, they sound so good together. And yeah, look,

00:12:00 --> 00:12:22 Carrie, not the most technically great singer. Right. But, you know, having now watched, you know, the documentaries and stuff like that, like, that's not what she was there for. She was there for the energy. Yeah. She had the charisma. Yeah. And so I think it kind of works that she, I think this kind of belting kind of like, kind of, um...

00:12:22 --> 00:12:42 Kind of just like kind of childlike kind of execution on her end works in this case. Yeah. But then you get Jenny's version. Oh. Where she then gets up. You know, she kind of tries to put it on a little bit, but it's just not natural for her. She's not a belter. No, no, no. Yeah. She's the whisperer. Oh, whoo! The new one.

00:12:42 --> 00:12:58 Yes, she is. You know, she tries it with this with this one. But yeah, and you still hear that kind of raspiness in there. And look, she does sound older. Like Carrie really does sound very youthful. So that's just going to be natural. That's so funny to me.

00:13:13 --> 00:13:40 But no, this is super, super fun. And I think it's aged like well in the sense that if you were to try to find quality songs from this type of sound, this fits in really well. It does. I think it does. I mean, if you were like listening to S Club's steps, if you were listening to Spice Girls and this came out, we'd be like, what's that? It's accessible for that. Yeah. Yeah. Yeah. So yeah. Strong debut single, I think. What did you think of the music video?

00:13:40 --> 00:13:50 Oh, yeah. Speaking of the music video, I think when I was watching the documentary or even just listening to the song and correlating it to the video, I do appreciate that.

00:13:51 --> 00:14:19 like maintaining of their youthfulness because I mean no shade to Cassite whatsoever or any other girl group like that. But if you look at Cassite, they're like what age 17 and 20, 22 is the eldest. And the way that they dress are very trendy, but what's trendy right now for women that are a little bit older are the little short skimpy, skimpy shorts, you know what I'm saying? And like the, the mew mew skirt that looks like a belt. And, and it's one of those things where like either people are like, yes, it's giving or like why they, what were your clothes at? Yeah.

00:14:19 --> 00:14:47 You know, like for me, I'm like, whatever. For me, whatever. I get why people are like, oh, no, girl. No, no, no, no, no, no. Whereas if you get a girl group like TLC or Destiny's Child, they were still doing like, Destiny's Child is probably like a close equivalent. They would wear skirts sometimes. Or maybe one person would be wearing pants. It wouldn't be just like everybody's cheeks out, right? Or everyone's like little belly buttoner out. With this one, because the style was like the tight shirt and the car goes,

00:14:47 --> 00:15:12 They leaned more into that, but there were other fashion choices that they could have made. They could have had like low cut tops. They could have had higher crops as well, but they kept it really innocent because the song is already saying something that girls that age quote unquote should not be. Girls that age shouldn't quote unquote shouldn't be saying, but let's be for the high schoolers. What I have heard, some are like, you know, out and about because they're too busy.

00:15:12 --> 00:15:18 And some are out and about because they zipping and zooing it. And it's okay you zipping and zooing it. I was not one of them zipping and zoors. But...

00:15:19 --> 00:15:48 For them to be singing about this and be sitting there like, you know, not wearing quote-unquote half naked, it does matter. So I do appreciate the mall run through. I appreciate seeing the set being made. The iconography of that TNT kitty was perfect. It was fresh. It was fun. I watch it a lot, the video. I think it was just super cute how the tunnel was almost like one of those little like cheesy slides that you don't know if it's like structurally sound or not. Like if you go in it, it might just...

00:15:48 --> 00:16:15 like i just love the tunnel um and then like their little dance break was super cute um oh yeah the little floor scoot yeah yeah they could have done a lot of stuff but yeah i think i think just the kitty was memorable uh the fashion was trendy on brand and it was youthful so i think it was very well put together yes i mean the stage is literally like kids bop fantasy um

00:16:15 --> 00:16:40 Oh my God. Yeah. It looks like one of those TV shows. Yes. Yeah. Totally. I don't mean that in a good way, of course. Like I thought they did a really good job. It's just, again, it was just so bright. And it mixed with all of the little footage of them just kind of running around London doing random things. It was perfect. Yeah. That it wasn't just kind of a standard kind of studio video. I thought they did a really good job with it. Yes. And then, yeah, speaking of the choreography too. Mm-hmm.

00:16:40 --> 00:17:04 First off, just in the performances, they are giving so much energy. Yeah, they are. The choreography, they kept quite true to it through the years. It's simple, but it's effective. All the posing and the snapping back and forth. You got that little butt slap situation going on. It's fun.

00:17:04 --> 00:17:14 Honestly, I like their choreography. I'm probably going to say a lot, but they've had better choreography than what Girls Aloud had back in the day. I don't know who their choreographer was before. I'm so sorry if you've gotten better, but at the time you needed work.

00:17:17 --> 00:17:41 We should talk about Right Now 2004, too. Because they did re-record it a couple years later. It's crazy that, God, the lives of these pop groups was so short. You know, like, it was like three albums and done. And then it's like... Greatest hits. Don't forget the greatest hit you've seen. Three albums and then the greatest hits and then you're done. But yeah, first off, I thought it was a fun idea that they re-recorded their debut single for The Greatest Hits.

00:17:41 --> 00:17:59 Yeah. You know, it kind of takes it full circle, which I'm not mad at. What do you think of the new version? Much slicker. Oh, yeah. This time it was produced by Ash House and Martin Harrington. I mean. So still a dance track. Yeah. More bassy. No more bubbles, though, really. Yeah, no bounce. It was just more like, you know. Much more restrained vocal. Yeah.

00:17:59 --> 00:18:20 Yeah, it was more like coasting and cruising as opposed to bouncing. And I think it's okay. I think when you get a little bit older, you might want to not maybe feel like you're on speed when you're telling someone at age 20-something to give you the thing. You know what I'm saying? When you're a little bit younger, it's like, ha-ha, he-he, ho-ho-ho. When you get older, you may not want to sound as...

00:18:20 --> 00:18:36 Give it to me, give it to me, give it to me right now. You know? Yeah. Well, this time you do, I mean, you were doing that whole body roll thing before. Yeah, we got to do that now. Mm-hmm. You get that little slow down bridge. Yes. Yes. Much more dynamic here. Yeah. And it's a lot more like ooey gooey, my favorite kind of word, my favorite kind of word.

00:18:36 --> 00:19:04 There's a whole lower octave layer. Yes. It's just much more grounded. Yes. The harmony is stacked differently. It sounds a little bit more like R&B-ish. I cannot think of the section right now. But yeah, the point is, it definitely does not sound like 16-year-old singing. It sounds like young 20s. Yes. You know? And I think that is good. Because you don't want to sit there and put a greatest hits out, re-record it, and have it sound exactly the same. So I think that was a smart choice. It's chic. And it also falls in line with the music that they would end up releasing. Yeah.

00:19:04 --> 00:19:31 Yes. So it's just, hmm, clever, clever. A full circle moment. Yes. Okay, so their debut single, what do you rate it? Oh. Oh. Okay, this is my 10. So this is where I'm coming from. Oh, wow. So this is my style. I like this. Yeah. It's very, like, you know? So, yeah, this is my first 10. So if you guys need any indication of, like, where I'm going. Okay. My taste. But, yeah, what's your score? I'll go a 9. Okay.

00:19:32 --> 00:19:53 I thought you. I thought I know your tip. All right, up next we have Follow Me, and this was done by Trevor Steele, John Holiday, Lucy Abbott, Sarah Ecker, Don Joseph, Steve Robinson, and Pete Kearney. And this was released as the group's fourth single in the UK in October 2000, and it peaked at number 20 in the UK singles chart.

00:19:59 --> 00:20:28 Okay, follow me. I would say this is probably like the forgotten single usually, you know, because it was kind of like, you know, wasn't that successful. And then, of course, then got kind of overpowered by Hole Again and the whole thing. And they did do it on the first tour and then it kind of was just kind of forgotten about after that. Like, I'm questioning if it was even on the Greatest Hits album. I'm in tears. I'm actually going to look because I'm curious.

00:20:29 --> 00:20:59 Yeah, they didn't even put it on the Greatest Hits album. And they even put You Are and Cradle, which technically were not really singles at that point. Singles, yeah. Oh, wow. Better songs, maybe? Question mark? We'll see. I actually like this song, though. I do think it's a bit faceless. Like, it kind of could be sung by anyone. But it has that youthful vibe while still toning it down to be this a little bit more kind of, like, light R&B.

00:20:59 --> 00:21:22 yeah inspired right yeah but i think because of the way they're executing it um especially because i think liz is the one leading the chorus this time and the way she's singing it it's like she kept that theseality that you were talking about so it sounds like a very young yeah execution still so that it kind of balances out well because i could actually get you could totally rejig this song and be done by like

00:21:22 --> 00:21:48 an older woman like you could have been a man exactly exactly oh my gosh i mean overall it does get a bit churchy like that choir the backing vocals are so choir i'm surprised there's not more like step and snaps yeah

00:21:48 --> 00:22:09 Yeah, the choreo. We'll talk about the choreo in a second because it's a lot. Oh my god, yeah. But honestly, I think just listening to the backing track, I actually like it. Like the guitar loop is kind of cool. There's like an interesting energy to it. They put kind of an interesting effect on it to make it more staccato as well. The chorus, I like the verses more than the chorus.

00:22:10 --> 00:22:27 Yeah. Like the chorus is just a bit cheesy, I would say. It does have kind of a sing-along quality to it. Mm-hmm. Like I think if you rewrote it to be like a church song, like you could see like, this would be like what you sing at like,

00:22:28 --> 00:22:46 the children you know when the children gather after the mass you know it's like this is a song that you would say like this is a this is a song in jesus's voice follow me yes exactly that's so valid i do of course have to shout out mitasha though because she is just belting her face off oh my god

00:22:49 --> 00:23:04 Yeah. This is one of the ones I'm pretty sure Carrie is not on. Yeah, no. She tried. I mean, she is holding it down. Liz sounds great in her parts. Yeah. But dang. You could have been, you could have been, you could have been. Is that where the echo's in? Yeah.

00:23:05 --> 00:23:26 So yeah, I can see why the label chose it as a single. Would I have chosen something else at the time? Like, given what we know the album was, probably. But I can see why they were like, let's try and choose something a little bit more low-key to try and just, like, show some depth. I guess. I mean, like, I think Honey's was a little bit, like, after this? Yeah.

00:23:27 --> 00:23:46 I think around the same time, right? Around the same time, because Honey's kind of went the same route like this too, right? Yeah. I mean, we talked about them on our show already. Then we had like Eternal. Eternal was way earlier, but... Oh, Honey's is right. It was before this. Right before. Honey's was right before. Yeah. Yeah, yeah. I had a feeling. I feel it in my bones. Because Honey's went the same route, and then Eternal kind of had this whole like...

00:23:47 --> 00:24:07 you know, was it like pop, but like kind of leading to her, like that diva pop or also gospel, but like they had Esther and Esther, you know, you know, her, her gullet could like really belt. Um, this one is interesting. Cause like, you're trying to tell the line between like pop and not, uh, it's, it's,

00:24:07 --> 00:24:34 If I were to describe the song, though, I'm just trying to give you an imagery to really help sell it to me and you. It's like a forward motion in terms of where it's going. Because the guitar is kind of merrily we roll along down the street. Yeah, we just keep on going. Forward feelings and forward platform sneakers. It's still kind of bouncy and youthful and fun. So I appreciate that. Like, let's go forward. Let's go together.

00:24:34 --> 00:24:54 love you know um and then you have that chorus that reminds me so much of vitamin c the graduation song it has that kind of like we want you to sing along to this yes you know otherwise why have liz do the lead on that just because it sounds a little bit more poppier there um

00:24:55 --> 00:25:14 But yeah, I feel like this is more like an R&B inspired version of that. Like repeatedly scribbling someone's name in your notebook kind of way where you're just like, I like this person. I want them to follow me. Like not like social media follow me, but like come into my arms. Let's be together. Because I think at the end of the day, the song is about love. It isn't about like...

00:25:15 --> 00:25:45 saving anyone from the from the darkness as much as it sounds be written that way though it could be yes like angel of mine's eternal into angel of mine monica's into like a long yeah listen y'all if it's your first time here we know our stuff um but yeah i think in the uk tracklist it's it's it lands early for the pacing that like keeping you from that fun pop mode before the emotional center starts to creep in a little bit more so i appreciate that the bridge is my favorite part for sure um

00:25:45 --> 00:25:55 and I think the music video confuses me the most. Yeah, clearly the budget, they spent it all on I Want Your Love.

00:25:57 --> 00:26:25 I'm crying. If you think about it, they utilized every single bit of effects that they had at their disposal. Disposal, excuse me. I mean, the clouds, the glitter that looks like fire. There's a point in the video where they're dancing in flames because the glitter was just so saturated. And I was like, why are they on fire? They weren't on fire. They had like the 3D, like Epcot little...

00:26:25 --> 00:26:46 Disco ball situation. I think they put a lot of effort in. The girls look really pretty. I do think it's interesting though. In the video, they're dressed like casually and cute like in the first half of it. And then suddenly they're like on a rooftop with a dragon on it dancing in a black dress. Like I just, I think the hottie cutie balance was just unbalanced. Like it was just like

00:26:46 --> 00:27:13 while we're talking about the bitch, a lot of beds in the video, but I guess you want to sell it up a little bit. And then the dancing was, I don't know. The dancing is trying to be like hip hop. Yeah. They were like head bopping themselves to death. Like we're sugar bags. We'll sit there and sway to death round, round baby. You know, they do the whole, these girls crack, crack, crack snaps. It was a lot. I would rather, I would rather that energy from yesteryear than like someone just staring at the camera like this.

00:27:14 --> 00:27:23 Yes. You know, so I'll take it. Because, yeah, right. They were giving a lot of face as well. They were doing what they could. Because imagine what the situation was. They were like...

00:27:23 --> 00:27:52 Now you're standing on a giant disco ball with clouds behind you. Imagine it. Go. And they're just like in front of the screen screen. And it's like. No, you're so right, actually. And then now there's like this giant weird statue behind you. Oh, yeah. Keep dancing. Like, it's just like, wait, what? Like, where are we? Like, what are we doing? Don't worry about it, love. We got you. It was definitely giving random Windows 98 backgrounds or something. You know, it's just like, what's happening? Yeah.

00:27:53 --> 00:28:17 They were like, yo, the kids are going to love this. Yeah. But the choreography, I will say, first off, whoever styled them had not seen the choreography because they had them in some of these, like, tight. The black dresses, yes. Yeah, and it's like, they're, like, doing all this, like, beeping and spitting and stuff. And it's like, oh, wow. Yeah, they didn't think this through. And also, this time, you know, they could not sing live doing this choreo.

00:28:17 --> 00:28:44 Oh no, it was so much Like that pre-chorus too Where they have to go way up Yeah It's like, if you watch the choreography They're like doing some spin or something It's like, okay They were going to sing this live Because this was a lot of jumping and whipping and stuff It's a song I will say though, the eventual tour performance With Jenny eventually Was very, very cute Like just them vibing with each other Yeah Yeah

00:28:44 --> 00:28:58 And Liz is, like, doing all those backing vocals by herself. Like, she was carrying that so well. Saw, because yes. Poor baby. Yeah. So I...

00:28:59 --> 00:29:25 I don't not like the song. I think it gets forgotten about. Because I think, like you said, it's very early on in the sequence. And I think there are better songs on this album. So I tend not to go back to this one. But then when it comes on, I'm kind of like, aw, this is like a cute song. Right. Okay. Yeah. Yeah. Yeah. So I'll give it an 8. Okay. I gave it a 7.5. Okay. You can make me hold again.

00:29:27 --> 00:29:46 Okay, yes, the next song is Hole Again. This was done by... Engine, Stuart Kershaw, Jem Godfrey, Pill Padley, and Andy McCluskey. So, this song was originally recorded with spoken word verses by Carrie.

00:29:47 --> 00:30:07 But when the group was about to lose their record deal, Andy and Stuart convinced the record label to give them one more chance. And they decided to re-record whole again with melodies. And release it as the group's final attempt at a single.

00:30:08 --> 00:30:37 And in addition to that, during promotions of the single, Carrie announced that she was leaving the group. So Jenny dropped in halfway through and took over promotions of the single. And she seemed to be a lucky charm because the single went number one in the UK. And it became a huge hit. And it remains one of the biggest selling girl group singles of all time ever in the UK. Yeah. I think it's number three. I think it's Never Ever, Wannabe and This.

00:30:38 --> 00:31:04 Oh, so correct me if I'm wrong. That's just off the top of my head. So, yeah. Wow. You know, that's impressive. Yeah. Also, the original music video, which has two versions, because there's a Carrie version and a Jenny version. Yes. Was, of course, filmed on a shoestring budget. So a new music video was re-recorded for the planned U.S. release, which unfortunately was ultimately canceled. And then they, like, sold the song to play.

00:31:04 --> 00:31:20 Oh my god, yes, I heard the play version. Anyway, the song has lived a lot of lives. Also, they eventually actually re-recorded again, quite recently actually, like just a few years ago, because this football team started using it as their theme song. What?

00:31:21 --> 00:31:36 Yeah. So they actually re-recorded the song as Southgate, You're the One. Oh, yes. Okay. That makes sense. And even Jenny came back to do the promotion. So we actually had a little mini reunion because this song had a random resurgence.

00:31:36 --> 00:32:06 So we love that. A football team. That's crazy. A football club brought it back. That's insane. Also, someone from Eurovision, I think 2023 actually performed. I don't know what country he was from, but he actually made like an Atomic Kitten cover, made like this EDM dance thing. He recreated the Atomic Kitten cover where it was just three of him instead of three girls. It was silly. This song is just, yeah, wow. Lived lots of lives. Yes. Let me on. You can make me whole.

00:32:08 --> 00:32:34 Okay, so I obviously am a bit biased, right? Because this is the first song I ever heard of Atomic Kittens. And it was huge in Hong Kong. Like, we're talking played everywhere. Like, I remember seeing that music video all the time. Yeah. And yeah, the song was literally everywhere. Get out of here. Oh my God. You know, I can't say I knew this song until you showed it. Well, it never hit the US. That release was canceled. Yeah.

00:32:34 --> 00:32:47 I know, but how did I get into K-pop? This is one of those songs that I didn't know. I knew Mystique's Scandalous. I mean, that came to you guys, too. You know, I feel like this is a more... How do you say?

00:32:49 --> 00:33:17 This is like a soul. This is a less soul and R&B version of Never Ever by All Saints for Me. It leans more into the gospel with the organs. And then just the way it kind of marches on to. I know they keep making this funny Baptist church version of it. Looking back on where we first met. Yep. It sounds like a church choir. Totally. I mean, they performed it with a church choir. Right. Yeah.

00:33:17 --> 00:33:35 Right. Right. So I was just like, okay. But I think with the spoken part, they decided instead of just the beginning of it, like with Never Ever, they were like, oh, let's do the whole song. And then they were like, oh, wait, let's not do the whole song. Wait, wait, wait. I think we need to talk about Carrie's version.

00:33:35 --> 00:33:53 Okay, yes. Carrie's... Because... Did I always start the fight? Yeah, her version. Well, I think the accent's very... Clearly, she's not using her Liverpool accent. No. She, like, tried to put on an American accent. She did. And then it's, like... It's just so funny how it's... She tried to make it sound so thoughtful...

00:33:53 --> 00:34:11 Yeah. You know? Well, then she was trying to fight to sound like a, you know, I'm just laughing and... And joking. Choking with another guy. I was like, what is happening? I mean, it's so funny because you have these moments at church, too, where it suddenly turns into like a spoken word situation.

00:34:12 --> 00:34:37 Oh. You know? Where it's like they start giving like a... Yeah, like a testimony of some sort. Yeah, not testimony, but a... Sermon. Preaching. Yeah, sermon. Yeah, sermon just happens in the middle of the song before it continues. You know what? That is the beauty of the Baptist church. I can't lie. It's the... They were like, and I said... You know what I'm saying. Yeah. Yeah.

00:34:37 --> 00:35:06 It's like the priest is saying all this advice and stuff. And then the choir comes in every couple of eight counts to sing this chorus. And then he continues. That's what that version gives. And I think it's amazing. I think it's hilarious. Okay, that explains so much as to what the thought behind it was. Again, I'm glad they kind of left it behind. Because, again, you already had All Saints doing it in the beginning. For you to do it the whole song, oh my god. But then do it in the bridge. I'm like, okay. Okay.

00:35:06 --> 00:35:34 Okay. It turns it into a moment. Right. Not just like, y'all trying to copy it. There's something wrong with following a structure that's been proven effective, especially if you've done it really properly. But I think having it makes this feel like an emotional curveball. This is that song that makes people think, Atomic Kitten, you think fun singles, but also, oh, wait, they can do that? And I think that this makes sense, right, with Right Now. Yeah.

00:35:34 --> 00:36:04 Sonically, this also, or lyrically, it reminds me of Walk on By by Deanne Warwick. If you see me walking down the street, not just cry. You shine with me. It's the same kind of concept where it's just like, my life is kind of stinky without you. But this one kind of takes it a whole other step with like, I'm whole again. I am a you can make me whole again kind of girly when it comes to my feelings. So I can relate to that. I'll move on, but I don't forget very easily. But yeah, I think that's why I like the song.

00:36:06 --> 00:36:34 I do not care for this chorus. Like, gasp, gasp. British people, come for Chantel. She's coming for your classic. Come on, flame me in the comments. I really don't care. I have nerves of steel. But yeah, a ton of kitten fans, you're going to have to flame me. I'm sorry. I just think that the chorus is okay. I like the verses, though. But that, looking back on where we first met. I'm like, I don't know, something about it. And then it just cuts off. You can make me whole again.

00:36:35 --> 00:37:01 And I just thought, okay, whatever. Not your creepy smile. That's what they were doing in the video anyway. So I'm just like... I don't know. I feel like... I don't know what else could have been said in the chorus, right? Maybe I needed it twice. But it does come eventually. But I just... Also controversial take. I do like Carrie's version of the bridge. The Spilkin Bridge, yeah. Yeah, a little bit more than Jenny's because I think... No, I'm kidding.

00:37:04 --> 00:37:34 But you can make me whole again. But you can make me whole again. This is like how people react when I'm like, well, Heidi was there. They're like, no, Siobhan. I'm like, but Heidi was there. I'm like, I'm not defending anyone. I'm just saying like she was there, you know? So y'all gotta act like Heidi wasn't there. That's for another episode. Watch that Shookababe episodes. But yeah, I think Jenny embodies that like the you still turn me on part of the chorus. Because she's like, you can make me whole again.

00:37:34 --> 00:37:51 You know, she has like that sultry kind of thing. And Carrie's like, you know, this kind of sucks that he broke up. And I just feel like it feels like a teenage girl breaking up with her boyfriend. Very true. So I like that vulnerability where Jenny's just like, you know, if you did give me a call, I might answer. Yeah.

00:37:51 --> 00:38:11 You know, like... Yeah. I love that. The difference between Bella Hadid breaking up with you, you know? And like, maybe Millie Bobby Brown. Like, it's just... What do you think of when you see these two women? Sweet girl next door from Stranger Things, or a model that was dating the weekend? You know?

00:38:13 --> 00:38:27 Oh my god, that's amazing. I mean, honestly, I'm pretty sure there's been a lot of discourse of like, Terry version versus Jenny version. I'm crying. We're playing right into it. I totally actually agree with you here. I like both versions, because I think...

00:38:28 --> 00:38:52 I'm just used to Jenny's version. I'm kind of used to the kind of sultriness that she brings, but I agree. It's very smixy. And actually, there's a few different... I remember they actually added Hole Again as a bonus track on the Asian version of the second album. Getting very, very specific here. That's amazing. But for some reason, that version has a different vocal from Jenny in the bridge. Yeah.

00:38:53 --> 00:39:07 How are they doing? And it's almost a little bit less. Yeah. It's a little less sultry like that. Oh, okay. So you need to mind melting. Yeah. Yeah. So I love the chorus to this. Look,

00:39:08 --> 00:39:30 Because I think it's just, it is very simple, but it is, there is something very heartfelt about it, but also something very innocent about it as well. Like kind of naive about it. Yeah. A little bit. Okay. Me. And so I think also because it was just hammered into my brain as well, I'm just biased.

00:39:30 --> 00:39:39 Oh, that's valid. That's a lot of y'all fans out there. And then thirdly, is this my third? I've ran out of... Yes, this is your third, yes. Okay. Thirdly.

00:39:41 --> 00:40:09 I have witnessed this live in a few different locations. Outside, like, in the harbor in Hong Kong. Oh, wow. Okay. I've witnessed it at a gay club in London. And I've witnessed it in an arena in Manchester. Wow. Different sizes, different jmos. Every time this song comes on and you have the whole crowd screaming the song together. That's powerful. I mean, maybe it kind of feels like church, right? Like, it's like a moment.

00:40:09 --> 00:40:29 You still turn me on. Exactly. Exactly. And of course, now when they perform it, they have the whole extended version that's like made for the sing along. So we do the chorus like 20 times at the end. Oh my gosh. But it really is a moment every time. So I think I'm just biased because I've had these experiences with this song. Mm hmm. You know.

00:40:29 --> 00:40:57 That was valid. Yeah. We do need to talk about the music video, because, of course, they made a big deal about how they were given no budget, so they kind of just had to do the simplest thing possible. But, of course, Overload by the Sugar Babes came out just a few months before this, so clearly they stole this idea. Oh, my God. Scandal. Scandal. I will say, what's distracting for me, I wish they didn't film it all in slow-mo. Oh, my God. What the...

00:40:58 --> 00:41:26 I say this a lot, but every time we see slow-mo stuff, because it's like the mouth doesn't fully match, and then I get distracted by it not fully matching. And then there are moments where they're like, I can't tell if they're mirrored or I don't know. And I'm like, wait, in this shot, she's mirrored. I get distracted because it's just so much easier to see all the changes, you know? But the overall idea of them all overlaying each other and stuff is fun. And it made it easy for them to then slot in Jenny.

00:41:28 --> 00:41:54 You know what? Yeah. I feel bad for the girls. They had to film it twice. Well, they got that American video, too. Oh, God. No, I meant the overlapping. Oh, yeah, yeah. You know? Like, oh, my God. Again, same studio, same director. Let's get it done. Like, you know, like... Well, I think Natasha and Liz, they didn't re-film it, did they? They just did the group shots with Jenny. The group shot, yes. Yeah, yeah, yeah. You're right. My bad. I was like, wait, wait. No, I know what I saw. The group shots. Yeah, yeah.

00:41:55 --> 00:42:23 I hate the U.S. version, by the way. Let me make that very clear. I hate the U.S. version. Yes. If someone can remind us. Sorry. I mean, maybe Pop Unlimited. I forget if you mentioned this in your documentary. I forget exactly why the U.S. release got canceled. I forget if it was a 9-11 thing. I think it was, though. That's what I think as well. Yeah. I would love a reminder if anyone remembers what happened. I'm very curious if it would have done anything. Okay.

00:42:25 --> 00:42:51 Because unfortunately for them, the tide is high didn't do too much for them. It stinks. I mean, I feel like the way the song was, if they had released it right before, not to be funny, but like right before everything had happened, it probably would have been a very emotional kind of song, the kind of like, you know, especially the title of it, the meaning of it. I think it would have been like really big. I know you want to be like respectful. I want to be respectful as well. It's just one of those things where I'm like, oh, interesting, like.

00:42:51 --> 00:43:18 Because everyone knows about Mariah Carey. No one wants to hear about 9-11. But literally, she was talking about how one of her songs didn't do well. Or people kind of went back to hero because of that. Because people use music, media. They use the arts to escape their reality, right? So I think if this song had come out right before then, it could have been a bigger song. Interesting. I'm not saying that you should use tragedy to sit there and propel yourself into stardom. But I'm just... If the tide was...

00:43:18 --> 00:43:42 title's in their favor if they had an auspicious day that they released it you know um but yeah i think yeah it probably would have been a bigger song a big song with or without the tragedy honestly because i think it's not a bad song i think it fit within the concept of what was happening with music anyway and like there are there are three beautiful women singing about missing a man and missing love like i think this song would have been fun

00:43:42 --> 00:43:58 in America. Yeah, I am a little confused by the U.S. music video. I hate it. I mean, nothing happens in it. And then they must have been so expensive to pay all those extras. You know what? It's that whole, like, follow me. Sounds like church ever gathering all the people like a cult.

00:43:58 --> 00:44:23 right i mean i appreciated the giant kitten head that they turned into at the end it's cute isn't like a coca-cola commercial where they gather everyone on a hill yes i think so yeah so i think okay cool i guess um but yeah the whole like it's just a little lazy they look gorgeous though but the whole follow me is we can go dance in a random park is a little like not it for me okay but that's not the reason why my score is the way it is um oh no what's your score

00:44:28 --> 00:44:57 I don't know if you're like afraid for me or just worried about like how bad it is. I don't know. What's your score? I have to give it a 10. Again, though, I'm biased. Okay. Mine's an 8.5. I'm not in love with the song. Yeah, it's not terrible, but it's not like, oh my God. You're right. So it's going to be so bad. Get mad. Also, feel free to at me. I really don't mind. I'm not an argumentative person, but I do like to hear people's reactions. What do you mean? You don't know what you're talking about. I don't.

00:45:01 --> 00:45:22 So let's move along to our next song, Eternal Flame. And this was done by Billy Steinberg, Susanna Hoffs, and Tom Kelly. And it was produced by Ray Ruffin. And this is a cover of the Bengals' 1989 hit of the same name. And this was released as a single in July 2001 and hit number one in the UK. And again, it was a hit around the world.

00:45:28 --> 00:45:54 Okay, so you got another ballad. Yes. I mean, it makes sense, right? Like, they were like, okay, you just suddenly found all this new success with Hole Again. I can see why the label was like, we got to release something that would be appealing to the fans of Hole Again. Oof. Yeah. And let's do something even safer by doing a cover of a song where we know it was already a hit. Yeah.

00:45:55 --> 00:46:20 You know? So I can see why they did this, just from a business perspective. Yeah. And I actually think it's a great choice. Like, the original version is already such a pretty song, and it's well-known. It's used in so many movies and stuff, I feel like. Oh! And it's just so delicate in the way that it's produced, in the way that it's vocally done. Yeah. So then you have the kittens version, where you have Natasha, again, just belting her face off. Hello! Hello!

00:46:20 --> 00:46:50 I was like, you're gonna go off. You better go. And then while they kept the kind of main... They kind of kept that. But then it's kind of far back in the mix. And they kind of pushed up the acoustic guitar and gave it kind of the super pop beat. And these like keyboard strings. There is an original version on, I guess, the album that's just Natasha singing. And it's much closer to the original Bengals version. But the single version, they definitely modernized it.

00:46:50 --> 00:47:18 Yeah. For sure. Yeah. And I think they did a good job. And of course, this is where Jenny finally, she just becomes, from moving forward, she's been given the role of all the spoken, breathy parts. So now they've added the random, call my name. Oh my god, yeah. Call my name. Yes. Randomly through it as well. Come through ASMR. Welcome. Come in. Come in. And then they kept the churchy backing vocals as well. Oh, yes. Yeah.

00:47:19 --> 00:47:38 You know what? I don't mind the, the, the ad was back, the background vocals. Yeah. I will say it sounds like it's a completely different person. I'm like, is that a, is that a session singer? Cause it doesn't sound. Definitely other people there. Yeah. That is not Jenny. I'm not, I'd add it, but I was just like, that's not even Liz, honey. Yeah.

00:47:39 --> 00:48:04 I was like, y'all don't sound like this. The Bangles wrote a good song. Atomic Kittens production elevated it, because I will say the original was definitely for the snails. And this is not because I'm a person who likes to stream my music, and I'm like, I need shorter songs. It was just a little bit for the snails. This is the kind of song you make love to. You know, I get it. But, uh... Yeah. But, but, boy, let's go. So I like the Atomic Kittens, like, re... Yeah.

00:48:06 --> 00:48:32 No disrespect to the Bengals. Great artists. But yeah, Atomic Kitten gave it a little bit of oomph. So sad to the producers. I think this feels like something an R&B group from the 90s would have done as a B-side, like straight up in the deep part of the album. Like no one would have really paid attention to it because it is like a cover or because it is quote unquote so simple. But I think it's like not fully there in a sense where it's like, well, name one R&B girl group. Right now I can't.

00:48:32 --> 00:48:59 But there is some random girl group, like ex-girlfriend or something, that would have done this song justice or some other group that y'all may or may not even know of. But yeah, I just feel like it's not fully there in terms of like the long, you know, like the whole like R&B 90s. Yeah, baby, baby, yeah. You know that the way they used to sing. But there are sweetener vocals and harmonies in the verses and throughout the song that make it feel better.

00:49:00 --> 00:49:15 a little bit more R&B in terms of the choices of the harmonies and how they are melodically structured. And it adds depth to the song as well. The original version with the guitar break was interesting. And then...

00:49:16 --> 00:49:40 The original version with the guitar break has, like, I like it. And then there's a version of it that has, like, the strings. Like, the first original version. And then the second version with the single version. Sorry, excuse me, guys. Yeah. Yeah. The difference is stark. Because one has, like, guitars and, like, ooh, kind of smexy. And then you have the original, original. And it sounds like it was made for AC Radio. And I was like, ooh. Yeah.

00:49:40 --> 00:50:02 An older woman could be singing this right now. But the harmonies are still there. It's still giving me, you know, R&B. I think the lines like, you know, say my name in the sunshine through the rain. We love that. It gives me the feels, you know? I think the song is a good follow-up for Hulligan. But thematically, it is the same. However, I would say I like this a little bit more. Um...

00:50:03 --> 00:50:17 Also, I would say that Jenny's Merce isn't my favorite tonally. Yes. She's not a bad singer, but texturally speaking, it just wasn't in the pocket for me. It just was not giving like, ooh, ooh.

00:50:17 --> 00:50:45 Yeah, I think they didn't really know what to do with Jenny at this point. I would say as we get through their discography, they found her spot. Okay. Yeah. Yeah, I agree. It sounds a little bit of a struggle, but then it also kind of works because there's like a yearning to the song. So her kind of sound like she's like almost going to break or almost going to cry a little bit kind of works. It's emotive, I would say. And I love Liz's execution actually as well. Very delicate, very beautiful. Yeah.

00:50:45 --> 00:50:59 Yes. Liz flows nicely, yeah. Uh-huh. What do you think of the video? Oh, my God. I love the video. Okay, so... Because this is, like, the first time when they tried to do, like, the hot, like, smexy thing with the outfits being super tight and it made sense. Yeah. Like, oh, my God. Oh, my God.

00:51:00 --> 00:51:21 And they just look really good. It's simple. I love that sound state that they're in with the lighting fixtures and like the blue. It just looks so good. Also, I don't know what's up with Jenny, but that girl was on the. She was. She was sick. OK, because she was honey. She was ill. She was working it, though. But I was like, my girl is Lillian Deer. Like. Let's sleep.

00:51:21 --> 00:51:50 Yeah, I mean, it was giving like, it was giving smexy slumber. It was giving, you know, quanticumatose. But it was just, she was laid out. And I was like, poor baby, what's going on? But now that I know, it makes sense. But she looked good. She looked so good. But I was like, my girl is on the floor. Okay. Yes, I love the kind of mirrored floor. Yes. Because it made for some really beautiful shots. And yeah, it made it feel kind of angelic. Like they're in this like...

00:51:50 --> 00:52:20 I don't know. Yes. Like you're in like this limbo with these sirens. I don't know. It's very interesting. Come on, limbo. The choreography, though, makes me laugh for this song. Oh, my God. I think they just didn't know what to do for it. But they have them doing these like hard hit hips. They hip hop. Yeah. And they're this triangle formation the whole time. Yes. And then just randomly where there's a random, you know, moment for an extended note. They just do an arm. Yeah. And Natasha's off on the side. So I'm like, fly.

00:52:21 --> 00:52:34 And then back to the hip hits. Yeah, it's like, oh, great, wow. Their live performance makes me laugh all the time. Because one thing about them, they can sing. And whoever said they could not sing is foolish. Because Natasha was in there. She said, bop!

00:52:38 --> 00:53:04 She did it like three times, right? She just gave it. Yes. They did do it acoustically on the Greatest Hits tour as well, which I thought was very nice. Yes, acoustic is very nice. Yes, it was very nice. Oh my God, oh my God, oh my God. Fans, fans, fans, fans, fans. So can I just say, there's a remix with this rapper named P1. The remix sounds like something that Dark Child came up with. Like the rap in that version though is so...

00:53:04 --> 00:53:25 irrelevant to the plot of the song. Like the song is about yearning and craving and wanting love again. And this man is just on here for freaking vibes. They're like, we need a Dark Child kind of remix. We need a black guy. And they found him and they were like, and he's like, bangles, we revamp in, bust you, clutch you, knock you off the charts, then I nudge you. And I'm like, no!

00:53:26 --> 00:53:54 No way! There is no way! And then it has nothing to do with the theme of the song. And then he mentions having Riz. So Riz has been around for a while, but he's mentioned having Riz and other stuff. Oh my God. I have not heard this. Yeah? Okay, yeah, listen. He's like, we all bumpy, clutch, you rock, you t- you know? And I was like, sir. Sir. Y'all couldn't find a good rapper? Like, I'm a rap fan. You should have just had Jenny do it.

00:53:55 --> 00:54:20 Ooh, Lord. And with that, what's your score? Bring Carrie back. Oh, can you imagine? Close your eyes. Oh, goodness. Can you imagine? Just laughing and joking. I give it a nine. I give Eternal Flame a nine. Yeah. I'll match you and give it a nine, too. Okay.

00:54:21 --> 00:54:50 Moving on to Tomorrow and Tonight, done by Ray Ruffin, Annie McCluskey, and Stuart Kershaw. And this is one of the new tracks recorded for the Jenny re-release of the album. Oh, yes. We're finally at an album track. Oh, hello, album track. I like the cat and mouse string plucking for some reason. It reminded me a little bit of Liberty X. Hello. Like the intro. Yeah.

00:54:50 --> 00:55:17 And I think, okay, correct me if I'm wrong, y'all, but I think there was a lot of like, before the internet, there was a lot of, how can we make this kind of sound like that? You know, and that's fine. That's fine. But this one, I kind of heard it and I was like, what song by Liberty X does a little string plucky like this from the first album? We reviewed the album. Oh my goodness, guys. I'm so sorry. But the point is, I heard a little something. I'm like, hmm, it kind of reminds me of. Liberty X would be a few years after this, actually. Maybe just a little, a little bit more.

00:55:19 --> 00:55:46 Oh, that dent dent, the like staccato. Yeah, the staccato. Thank you. That is the proper terminology that I should have been using. The string plucking the staccato of it all. I like that. Yeah. I like the lyric, need a little sunshine. I need a little light. Something about knowing that the relationship is not right and then suffering at the hands of it. I think there's a lot of people that go through it, especially young people, because you don't know any better. You're like, I want to fight for this love. And you're like, girl, stop fighting. Stop. Put the cape down. You know? Yeah.

00:55:46 --> 00:56:15 like yearning for the man go away Chazzo we love you Chazzo we love you watch our pop 101 about Cheryl Cole we talk about her whole career but yeah I think the yearning for the man we've got to stand up for ourselves now we've yearned for the man a couple songs now no more weak in the knees and I also like the whole tomorrow you're gonna beg to stay tomorrow you'll simply walk away can I tell you

00:56:16 --> 00:56:34 I haven't had that issue because I refuse to go home with men. But there are countless, countless people I know that are just like, I want this to work. I don't want this to work because I'm working my body, you know. And I get that. Still be gestful. Yeah. You know, it's like. Perfect.

00:56:36 --> 00:57:06 Jenny would be proud. Thank you. But yeah, I love the harmonies between Liz and Tasha singing together. Yeah. My favorite, I think, on the album. Like, da-da-da-da-da-da-da-da-da. Yes. I love it. I just, oh, it's very, it just, it smooths a part of my brain so that part can stop thinking. It just, I just sit there and let that sit in that part of my head. Yes. And then you have like a deeper voice. Like I said, let's do what you're looking for. Yeah. That throws me off.

00:57:06 --> 00:57:33 I don't know who that is. I'm pretty sure that Andy and Stuart are all over this album because there are male backing vocals throughout. I noticed. But, you know, when they perform it, Jetty is holding that part down. Yes, she does. Yes, she does. Because we do not need. We don't need that. Oh, God. Yeah, I like this one a lot. Actually, this is one I kind of forgot about.

00:57:33 --> 00:58:01 this is one I never really yeah this is one not the song I ever really thought much about I think at the time but then coming back to it and we watched the tour together as well that's what and I was like oh that's kind of it's kind of cool um the backing track is funky it feels a bit mysterious but there's also like almost a silliness to it as well like yeah because of that kind of I don't know yeah and then even just the structure of it all you have these kind of like

00:58:01 --> 00:58:30 low-talk singing verses. And then there's like this dramatic plea throughout it as well with this like three-part harmony which Ben Natasha just starts belting all over. And then the chorus does that more like, yeah, tonight you want to stay, but tomorrow you're going to walk away. Like this kind of like heartfelt, like more like pleading kind of, I don't know, situation. Stand up. So yeah, I just, it's very interesting just as a song. And then you have Jenny come through with that little spoken bit.

00:58:31 --> 00:58:57 yeah with that smoking bed your whole demeanor changes i just embody each other every time it's amazing and always it catches me off guard because i'm like what anyway this song i've i've now saved it to some playlists this was not on any playlist before oh yeah okay you know what i would say it's grown on me yes

00:58:58 --> 00:59:27 agree it's grown on me as well and i think it's not as famous as the big hitters but it's doing sequencing work keeping the album from becoming a ballad only therapy session so because of that i have given it it was sitting at 7.5 for me but i watched the live performances i think i like the live delivery a little bit more than the track itself i think it's important that's important because it made me like the song so i'll give it eight i'll yeah nice okay i will match you with the eight

00:59:27 --> 00:59:47 All right, up next is Get Real, and it's done by Stuart Kershaw, Andy McCluskey, and Engine. Sorry, y'all. It's not that. Pose. If you're not watching the show, I don't know what to tell you. We're almost at, what, like 8K almost? You might as well, let's get there, okay? You're missing my awesome gestures.

00:59:53 --> 01:00:18 This one, this one is weird. I knew you were going to say something. I said that. The last song was kind of funky. I mean, this song is really funky. Yeah. Funky, funky. But again, I'm kind of here for it. I don't think I really understood this song as a kid, maybe. But now I'm kind of like, okay. Like, it definitely is experimental for sure. But I kind of like the kind of surf style.

01:00:19 --> 01:00:45 guitar kind of situation along with these like really high synths that kind of pierce through you get this like really forward drum loop in there yeah um and then you have lyrics that don't really talk about anything they're just like just dance like just enjoy the vibe like this is really giving like i don't know yeah like a random like beach club that you're at i would say it's just like a band that's just like

01:00:46 --> 01:01:09 dance track on every girl like every boy group has like a this is our name of the band in the song like you know and then every girl group has like a get a dance with me baby let it go dance with me you know like every girl group needs one of that but then this one has that like atomic kitten kind of like weirdness i don't know like the verses do you wanna dance and sing yeah

01:01:10 --> 01:01:39 Yeah, like it's just like, wait, what? And then they're just like, just dance, it's fine. And then you have Natasha doing these like, woo, woo, woo, woo. You know, she's just like ripping. They were like, how much of you is black? Can you, like, that's what's giving up. I was like, making noise.

01:01:39 --> 01:01:57 That's not what she did, but like... But it's fun. It is. It is. It's fun. And then when they perform it too, like they seem to be having a lot of fun with it too. So I'm not mad at this at all as an album track. You know what? They're having as much fun as we are having, you know? Yeah. But yeah, I think this...

01:01:57 --> 01:02:13 Atomic Kittens Get Real feels like something the producers made to have fun, like we've been saying, which I appreciate as well. And I'm not going to lie. Like I said, it does have moments where it's like white dudes trying to throw a bunch of hip words to fit the sonic atmosphere of the track. Yeah, the backbone slit. Yeah, honey.

01:02:13 --> 01:02:38 That he hit the hip or whatever. Yeah, yeah, yeah. I have it. I was like, let your backbone slip, put it on your hip, let it slide right down, get it on that tip. Translation. Let's get loose. Get with the vibe of what's happening. If it's dancing, then dance. Okay? So basically, this song is about... Wow. I mean, think about it. If you sit there, let your backbone... It sounds like some weird... It sounds like some...

01:02:39 --> 01:03:02 sorry atomic kittens get real sounds like some weird 70s like you know some pimp talking about something you gotta let your backbone slip you know put it on your hip side down you know it just doesn't sound right it sounds like somebody wrote it to sound like 70s i don't know yeah which is okay whatever you have the tasha so one drop whatever so but my thing is like

01:03:04 --> 01:03:31 The whole vibe is if it's, if it's just go with the flow of what's happening between us, you know, if it's a connection, like let's be on it, you know, be on that cool tip, basically a cool vibe, you know, be on the cool tip, you know, the chill tip on the R&B tip. Y'all heard it back in the R&B days. Yeah. Or, Ooh, on the TLC tip. So on that TLC vibe, you know, so let it happen is what the song is saying, but like in a cool way, you know? Yeah. And I like that there are funk elements. Yeah.

01:03:31 --> 01:03:49 This is not so unserious. And I like that there is funk elements and there's a road piano and there's a call response in the song. Like it's meant to be sung to, sung back to, crowd participation. You know the words. Yeah. If you do, sorry. If you don't, sorry, you're missing out. You know, like...

01:03:50 --> 01:04:18 So yeah, I like to know it's cute. I do think it's unfortunate. This is another one I don't think Carrie is in at all. But there's so many little spoken bits that she could have done. Oh, totally. You got it. Yeah. Yeah. All that stuff. So anyway. Can you imagine what they have been saying? Maybe not that part. Okay, so what do you rate this one? I'm sorry. I'm sorry.

01:04:18 --> 01:04:48 Oh, man. I will get... This one's tough, because I'm like, I see what they're trying to do, but also it feels a little like, what are you trying to do? So because of that, I'm going to let it sit at a... It's not as... I'll give it an 8. It was close to a 7.5, but I'll give it an 8. I'll let it... I'll let it... I was the same as you. I had it at a 7.5, but I, like, re-listened to the album this morning, just before we were doing this, and I was like, you know what? I'm going to bump it up to an 8. Yeah, look at us getting on that tip. Let's go.

01:04:50 --> 01:04:56 All right, next up is Turn Me On. Done by Stuart Kershaw and Amy Klusky and Engin.

01:05:02 --> 01:05:24 Okay, so we're back to the disco. And this one, classic disco, it's a sonic response to right now. And I'm not going to lie to anyone here. I do enjoy when an album has at least two songs of similar sonics. Either the structures are similar, the production is different, or the productions are pretty much like hand in hand, but different kind of...

01:05:24 --> 01:05:53 Delivery or something Just something that just ties it back together So that the song choices on the album Don't feel super random and kind of like Checks mix, see what you get You know I like the lyric If you wanna see me cause you want to That's okay Cause I'm gonna make you feel you're gonna need me every day I love that, that's a decent statement Set the tone Give me some more of that baby On and on Right? Yeah

01:05:54 --> 01:06:21 She's so noisy. On and on. And then, I mean, you got Liz leaving the chorus too. So it ends up again being a nice balance because she does a very straightforward, you just turn me on. And then you get Natasha kind of belting all over it. So it's just a great balance there. So randomly, the full acapella of this song actually leaked a few years ago. Oh. So random. Like out of all their songs, this one did. Why?

01:06:21 --> 01:06:39 But you get, it's like the raw vocal. So as Natasha's vocal takes, like in the studio, you get all the layers of the oohs and the ahs and the chorus backing vocals. You have Liz's kind of raw chorus. It's bizarre that it's there, like the full isolated vocal, but it's out there. No Carrie, no Jenny.

01:06:40 --> 01:07:04 I can't... So, there's a part of the backing vocal that I thought was Jenny. But I was like, there's no reason that they would bring her in just to do a couple oohs and ahs. I think it's Natasha, actually. Oh, okay. Go off. Go off. Okay. But fans, feel free to correct me if I'm wrong. But yeah, I will say this song, it's fun, but it is a little basic. Yeah.

01:07:05 --> 01:07:26 Yes, it doesn't go anywhere crazy. It just has the moments, like, touch moments. What elevates it is the vocal. Yeah. Because, like, melodically, like, the chorus is very simple. But, like, again, you have that dynamic between Natasha and Liz. Like, it really works and it kind of makes... Yeah, it kind of elevates it a little bit. And I would say...

01:07:26 --> 01:07:54 This makes sense as... I agree with you. If you're a fan of, like, Right Now, and even I Want Your Love, I could see this being, like, more up your alley than some of the stuff that has been heard so far. Right, right. So this is, like, their B-side promotion, which we call in K-pop. Like, they performed this all over the TV shows at the time. Oh, okay. Because I think they were, like, trying to balance, like, don't worry, I know you, you know, yes, we started doing all these ballads, like, whole again, Eternal Flame, but don't worry, we're still fun. So they started performing this everywhere, so...

01:07:54 --> 01:08:12 Yeah, this had its moment, which was nice. You know what? I'm not mad at it. I do wish that there... I would have loved a spoken part in this song. You know? Oh, yeah. Like a little... Yeah, a sugar heel. Instead of all then, all. Just over and over again? Yeah. Yeah. A sugar heel gang, you know, Rapper's Delight would have been cute. Yeah.

01:08:12 --> 01:08:37 You know, a little moment in Jenny or Carrie's voice. And Jenny just, you just turn me on. You just turn me on like Rebecca. You just something, something. You just turn me on. Do it all along. On and on. Just turn me on. You know something? Ooh. Wait, we should buy these acapella steps. We should. You just my voice, because I don't know how to do it.

01:08:38 --> 01:08:56 You should buy the steps. Come on, y'all. Come on. DJ CCTV pops in the house. Live vocals. And Chris pointing in that button. Now I'm like, okay. That would be my role, yes. And I would totally be able to do it. I can't think. You think I'll just press. Here goes my ass.

01:08:57 --> 01:09:25 You'd be pretty good DJs, I think. But yeah, this is classic Y2K, PG-13 flirty pop. It's suggestive enough to feel naughty, but clean enough to play on daytime radio between the shampoo ads. It's not about lyrical complexity. Bide, momentum, and, you know, again, body language, not diary entries. So this song, Magusta, not a lot because it's missing certain elements, so I will leave it at an 8.

01:09:26 --> 01:09:49 I will give it an 8 as well. Solid album track. Yes. Yes. So we're halfway through the album. And if you're still here, you're clearly having fun with us. So you should follow us everywhere at CCTV Pops on all social media. And you can hang out with us unfiltered and have some exclusive live sessions. And the ability to help pick future episode topics by joining the crew at patreon.com slash cctvpops.

01:09:49 --> 01:10:17 okay so let's get back to it with hippie and this was done by andy mccluskey stewart kershaw engine and pete craigie okay we're back to kind of uh a weird we're back to the uh the weird this one i mean it has that kind of

01:10:18 --> 01:10:41 Plinky, plunky, kind of like mysterious spy situation that Tomorrow and Tonight did. Okay, yeah. It's just like, where are we seeking off to? You're so similar. Wait, doesn't this give you, doesn't it, in the beginning, give you booty call by All Saints? Totally.

01:10:41 --> 01:10:54 Thank you. Yes. But in a much more juvenile way. Yes, yes, yes, yes, yes, yes. The string of it. And the R&B groove, the bounce. Yeah, yeah, yeah. Bring it on. Bring it, bring it on. I get that as a reference. Bring it, bring it on.

01:10:55 --> 01:11:23 Look at you. See? We have done a couple episodes of All Saints. Oh my gosh, I'm so excited to do the next All Saints album. Oh my gosh, we need to add that to our schedule. Oh yes, we will. We will, guys. We will, we promise. Yes. This is another one. I feel like, yeah, all these album tracks, because I'm going to be honest, I love, spoiler alert, I love the second and third Atomic Kitten albums. Like, I think among, like, just classic, classic girl group pop,

01:11:23 --> 01:11:39 They are so good. Oh, you're selling it, man. I'm going to have to check it out. They're so, so good. And so I tend to actually forget about this first album a little bit. So revisiting this has been great. And this is another one where I remember as a kid, I was kind of like, I don't really get this.

01:11:39 --> 01:12:07 But now I'm kind of like, this is actually kind of a cool song. Mm-hmm. You know? Also, I love that it's titled Hippie. Yes. And I'm pretty sure they don't use that word at all. Nope. In the lyrics. Yeah. Nope. But then if you actually read it, it's like, oh, this man. But they're using it like, this man says he's a hippie talking all about freedom and love. But he's actually so controlling and selfish. I love that. Yeah.

01:12:08 --> 01:12:37 It was like when the long-haired, handsome, bearded man was like, come here, he's actually a cult leader. It's giving. Right. Exactly. And yes, you mentioned the Natasha-Liz harmony. This chorus. Yeah. Wow. Especially when they do a live as well. They sound so good together. That blend feels so natural in that chorus. And then you get those little whispered ad-libs. Yeah. That are just perfect for Miss Jenny. Which I'm not actually sure if it's her on the track. Yeah.

01:12:37 --> 01:13:05 I don't think so either, dude. I was trying to figure it out, too. I'm like, that sounds like a Black Lady. And then I tried to find the old Carrie version. And the ones labeled Carrie version are this version. Yeah, it sounds like a random Black Lady. Maybe not a Black Lady, but it sounds like a songwriter. Oh, I was actually wondering if it was just like Liz, just like trying to do a really breathy thing. Like a songwriter? I think it's a songwriter. You think it's a songwriter? Maybe. Maybe. You think it's Stuart or Andy? I'm interested. What the heck?

01:13:05 --> 01:13:26 that they know someone else don't tell us liz andy right jenny one brain cell oh my god i will even with all of my all saints booty call references like

01:13:27 --> 01:13:51 I think what this song does, what Hippie does, is actually lean more into the strings and just keep it throughout the song, which I think is good. Because otherwise, if you would have just left it alone and just gone for the kind of R&B swing, it would have been a straight-up copy. So to kind of use that as your hook sonic or your hook sound or whatever, I think that's good. But yeah, I think...

01:13:52 --> 01:14:05 The song is sonically cooler than what I was expecting from them when I heard the album. And I like that because to be so young and having this kind of song is good because sonically it doesn't sound like right now.

01:14:05 --> 01:14:24 It doesn't sound like, I mean, hold again. Yeah, I guess hold again. It sounds like it's almost too old for them. This is kind of somewhere in the middle where it's cool still. And they're talking about a boyfriend that makes them feel trapped and uncomfortable and how they want to do their own thing. And it's one of those things where it's like, yeah, when you're no matter what age you are, but especially when you're young. Say you meet a guy.

01:14:24 --> 01:14:48 And he's a little bit older than you. You're like, oh, it's so cool. He's like so free. You need to see Skip School or whatever. Or like he's in college and I'm like a senior in high school. I have a college boyfriend. He has a car. And then you're like, you know what? The whole checking up on me every place I go. And not that I'm saying I've had this experience, but I've heard stories. It happens. Because they're like, oh, I'm in control of you because you're younger or something. Or maybe they're the same age, whatever. But when you're a young girl...

01:14:48 --> 01:15:08 You make choices. When you're a young person, period. You make choices. You're like, oh, this is a good idea. The spoken bridge added nails to this coffin of the relationship. And I loved it. The guy's evil. I love the whispering there, too. Yeah. I'm hearing what you said. Blah, blah, blah, blah, blah. I'm hearing what you said. I'm crying in that accent. That's the lyric, right?

01:15:08 --> 01:15:36 yeah and it's like he he's he uses and abuses and i was like what drugs it might be um i'm joking i'm joking but i know i know the meaning but it was just funny because i was like abuses uses let me using um but you know what i like it though it's not angry it's not a strong delivery it's just like kind of like i'm over it like dude just toodles toodles baby yes so yes what are you rated i will give it hmm i will give it a 7.5 because i can't quite

01:15:37 --> 01:15:40 It doesn't really stick out to me, but it's not bad. Mm-hmm.

01:15:40 --> 01:16:08 I'm sticking to the eight. Lots of eights for me on this album. Yeah, which is a great score. Solid. Yes. For sure. Okay, moving on to You Are, done by Steve Mack, Wayne Hector, Paul Gendler, and Ali Tennant. And this was one of the new songs recorded for the 2001 re-release. And the original album version features just Natasha on lead vocals for the verses. And then for the single, they lightly remixed it and had Liz split the lead with her. Yeah.

01:16:08 --> 01:16:33 And the single found success in a few different territories, but it actually was not released fully or properly in the UK due to their busy overseas promotional schedule. And they were going to film the music video in New York, but plans were scrapped due to 9-11. So this is kind of the single that almost was. So it was released in some territories, and they promoted it everywhere, but it never was released in the UK. Mm-hmm. Yeah.

01:16:36 --> 01:17:04 Okay, from what I read, this song was supposed to go to Westlife, right? I mean, we haven't done any Westlife. Oh, we need to. But I mean, yeah, I know, I know, I know. Yeah, well, Steve Mack is known for his Westlife productions. He ended up working a lot with the Saturdays as well later on. So kind of sonically, it kind of makes sense. Like, this could totally be a Saturday song, actually, as well. Okay, you know what? We did the...

01:17:05 --> 01:17:28 On your radar. Oh my God. On your radar. Yeah. Yeah. So yeah, we got before them. I mean, after that, the whole ballad moments, right? Yeah. I think having a Steve Mack produce mid-tempo ballad is good. It's fun. Could you imagine if Westlife have... I mean, beaches love, love songs about men saying that, you know, you're good enough and you're the reason I breathe.

01:17:28 --> 01:17:47 Hi, I'm Beaches. Beaches is me. I love it. I mean, let's be real. Shane and Mark could definitely pull this song off for sure. I'm not going to lie. I'm not going to lie. I am Beaches. However, this feels like typical pop. Kind of boring, but like, likable? Yeah. Yeah.

01:17:47 --> 01:18:03 I feel like the background vocals aren't the girls. This is the one I was like, this sounds like somebody else singing, like a songwriter that worked on it. Session singer. Or like a session singer. Yeah. And it's not a bad thing, but I was just like, it's giving that anyone could sing it thing. It's feeding into my little...

01:18:03 --> 01:18:33 conspiracy about that um the strings are the most memorable in terms of the production and i think that's the most identifiable part of the song which is good like when the song starts you want people to go oh my god it's this song um the bridge honey jenny is articulating she says i'd say i'm emphatic this urgency is automatic and then she whispers habit in the last line i was

01:18:34 --> 01:18:55 Oh, Jenny. Yeah, I'm not mad at her at all. It was just so funny. I love it. Every time she comes on, it's like a moment. Mm-hmm. You know? Like Michelle Williams. Yes. You know? It's just so funny because she said, is I sound emphatic? This urgency is automatic. Habit. I don't know why you whispering the T, girl. Hit that T as hard as you hit the other ones.

01:18:56 --> 01:19:15 honestly they just watched them perform it as well it is interesting because like you see how the like style is more hip it's a little bit more chic yes and it feels like older women it feels like yes they really matured them very quickly within one year yes it's kind of crazy watching their like initial performances of Hole again mm-hmm

01:19:16 --> 01:19:37 And it's only like nine or ten months later and then it's like you are. Yeah. Because I mean, just skipping straight to the music video first. They look so mature in that. You got the long blonde extensions for Natasha. Yes. Like they're wearing these pleather leather latex situation. Uh-huh. Uh-huh. Sitting on the chairs. Yes.

01:19:37 --> 01:20:03 you know hitting you know yeah the midriff we love that yeah um i mean i i think i have a soft spot for this song because i remember there was like quite a lot of buzz about the song and yes i think again looking at a business perspective it is very safe release you know it is still trying to keep in line with you loved whole again you love eternal flame we'll give you another one

01:20:04 --> 01:20:18 And then now you got Steve Mack, you know, he's a hit maker. And so it's like, oh, now they're bigger. So then they get some bigger names as well. Yeah. Right. So it makes sense to me as a single release. And I'm curious. Not even curious. I feel like it would have actually done really well. Mm hmm.

01:20:18 --> 01:20:44 But I think they were just like scared to ruin their run on number ones or something at that point. So let's not rock the boat. It's fine. You know, they still included it on the greatest hits. So they know they still treat it as a single, you know, I feel like. But yeah, I think just as a fan at the time, I remember all the fans being like, what do you mean you pulled the release? Like kind of like right before. So like for that, I just like I'm like, oh, this song like deserved better because I actually do think it is a nice song.

01:20:44 --> 01:21:06 I do agree with you, is a tad faceless. Like, it could really be sunk by anyone. But again, I think that's where the vocal actually elevates it a bit. Oh, okay. Because I think Natasha, soulfulness here. I think Liz's kind of delicateness. And then, honestly, that part was made for Jenny. Automatic. That bridge. Who else could do those three lines as well as she did?

01:21:06 --> 01:21:30 Yeah. No. Yeah. Literally. Like, I'm thinking through all the different girl group members. I'm thinking through all the people. Like, no one from Westlife could have pulled that off. Like, come on. No. So I feel like just that part alone makes this an Atomic Kitten song. That's hysterical. The chorus as well. Yes, I think, again, it is a bit safe, I would say. Like, it just feels...

01:21:30 --> 01:21:54 Like it could be any pop song really. But there is an anthemic kind of quality to it. And then when they do sing it live, there is that three-part harmony. Like they always ended the song when they performed it with the acapella chorus. And that was nice to hear as well, you know? Yeah. And then of course, speaking of the choreography, you have that little moment for Jenny's bridge. Oh, yes. Yes.

01:21:54 --> 01:22:19 back to back just yeah again that all those little parts alone elevate the song for me oh my god yeah so i i actually really like this one um but i think i'm also biased so you know and that's totally fine um i'm not gonna lie to y'all my score was sitting at a 7.5 i'm willing to bump it up i'm kidding uh-huh

01:22:21 --> 01:22:46 You need to make that into a gift. I'm just shocked. Outer shocked. Well, you do that. How dare you? How dare you? I just do the cast. You're right. I do. How dare you? Okay. Sorry. I cut you off. What's your actual score? No, it's totally fine. You're so right. I do. How dare you? Eight. I'll give it a eight. Okay. I will go a nine. Yeah. Yeah.

01:22:47 --> 01:23:13 Up next is Cradle and this was done by Quiz and LaRossi, Andy McCluskey, Stuart Kershaw, and Peter Strudwick. And this song was released initially in Japan as a single, featuring a simple music video pretty similar to Huligan with Carrie. And Cradle was eventually partially re-recorded to include Liz and Jennie sharing lead vocals with Natasha for a charity single release in 2005 in aid of World Vision.

01:23:13 --> 01:23:29 And Cradle 2005 peeped that number 10 on the UK singles chart. So Cradle, this one's interesting. How do you like this one?

01:23:29 --> 01:23:49 I love this song, actually. I love this song. You know I love a cheesy girl group ballad every once in a while, you know? Yeah. And this one is so good. There are quite a few iterations of this song, and actually, I think all of them are quite effective. There's, like, the original demo version on the Japanese release, which is way slower.

01:23:49 --> 01:24:17 Oh my god, yes. For the snails. And it sounds like a MIDI file. Like, it sounds like those, like, ringtone midis that you used to buy. But Natasha's vocal is still amazing. Yes, yes. I just have to say. But of course, once we get to the album version, they answered up quite a bit. You got these, like, echoing guitar twangs. There's a twinkliness to it all. The strings in there. Mm-hmm.

01:24:17 --> 01:24:32 One thing that's actually kind of funny about the song, I actually used to practice the drums to it a lot. Oh, my God. Because it has a really difficult bass drum pattern across, like, four counts. Okay. And so...

01:24:32 --> 01:24:56 It was really helpful because it's a ballad. So basically to teach limb independence when you're learning the drums, you're trying to keep your arms separate from each other and your legs, like your feet separate from each other. All four are supposed to move independently. So because it's a ballad, I could very easily keep my arms moving slowly on tempo while I figured out this really complicated right foot.

01:24:57 --> 01:25:26 So I used to listen to this all the time just to like practice the drums. So like, Oh wow. Also be slight, like, just like, again, I'm biased towards the song because I, I just listened to it so much as well. But I think it's just a beautiful melody. Yeah. And I love the lyrics as well. Like, yes, they are cheesy, but they're just so sweet. And there's just something so warm about it. And again, I love that it's called cradle where yes, this time the word cradle is used twice. I think in each verse, but,

01:25:27 --> 01:25:49 But it makes you think still. Yeah. You know? So yeah, I'm glad it got a little bit of love, you know, by being a Japanese single release and that it eventually kind of got a proper single release, even though Natasha was like over it at that point. Yeah, I think just melodically alone. Yeah. It is such a satisfying song to listen to.

01:25:50 --> 01:26:08 I like this one. This one feels like the focus was more melody first with a slightly more constructed like feel than pure teen pop fluff. That was a mouthful. But I think that's like the best way to describe it.

01:26:08 --> 01:26:26 Also, this is the kind of title that screams, yes, this will be performed in a daytime show. And the moms are going to love this. You know, like, if you think about Cradles, you think about who usually watches daytime television, it's usually women, especially during this time. Women, stay-at-home moms, whatever the case is, it's just a lot of young ladies.

01:26:26 --> 01:26:55 So I think that's awesome. Rock you like a baby cradled in my arms. Kiss an angel cradled in my wings. Things like that. Lines about being cradled like that. I appreciate more because the lyrics being the thesis statement within the verse. So that the chorus can breathe without relying on the title being mentioned. Greatly appreciated. Because I mean, think about it. If you think about Smells Like Teen Spirit. That man says, my libido a mosquito. That man does not mention deodorant once.

01:26:55 --> 01:27:21 okay like he just not every time do you have a title do you need to have it be in the song you just need to have like a this is what the song is about um or something memorable it sounds like teen spirit because that was so random or like in the less silly version strawberry letter number uh strawberry letter 23 they don't ever say nothing about nobody's strawberry letter or no they do they do but it's in the verse um but yeah i think

01:27:22 --> 01:27:49 The music falling away for some strings and harmonies during the bridge is my favorite. Honey, it's simple. It's beautiful. Tosh takes the song home. And then with the 2005 version, you have the bridge that features Jen and Liz's voices. And they sound very delicate and sweet. And there's a tenderness that was required in that part. Because you are having someone who's getting really heartfelt. But sometimes your love isn't so like, Tosh speaking to my arms. Sometimes it's just.

01:27:49 --> 01:28:14 Here, I'm here for you. I'll hold you. And that's okay, too. Both are still forms of love. And I think those voices having different tones, not just because they're a freaking group and you should have it. Also, sonically speaking, it just sounds so much more emotional, especially when you pair it with the visuals with the children. Oh, and then the Africa as well. Yes. So cute. Yeah. I, unfortunately, though, hate the 2005 version. Yeah.

01:28:14 --> 01:28:43 Basically, A, they took out that awesome drum pattern for stuff. Yeah, yeah. So I wasn't a fan of that. But also, I mean, look, I agree. You know I tend to love, you know, good vocal distribution. But this is Natasha's song. You know what? Like, she is just. Yeah, you're right. Didn't need y'all on it. Look, Liz got her little whoo-hoo at the end. Like, she got that. That's enough. Like, especially with the 2005 version. Mm-hmm.

01:28:43 --> 01:28:54 where they change the pre-chorus to a gang vocal, I really don't like that. Okay, okay, yes. And then the chorus, I think Natasha sang it very...

01:28:55 --> 01:29:23 I don't know. She just emoted so well. And they really popified it. That's valid. For the 2005 version. So yeah, I just don't think it's as effective in the single version. Also, as a fan. And I'm just kind of franting. But that was a weird time to be a fan, right? Because it was very clear Natasha was kind of over it. And they got this opportunity to do a charity single. And like Liz and Jenny did what they could to promote it. Yeah. But you could just tell. She was kind of like writing up. It was just a little, yeah.

01:29:23 --> 01:29:39 Yeah. So I will always turn back to the album version. Oh, album version. Superior. Yeah. Yeah. Okay. So yes, I give this one a nine. I will match you with a nine. My favorite ballad on the album. One of my favorites. Yeah. One of my favorites. Okay. Okay.

01:29:40 --> 01:30:02 Next up is Bye Now, done by Stuart Kershaw, Andy McCluskey, Martin Foster, and Enjin. And this song was re-recorded and remixed for the re-release with Jenny. So there's two completely different versions of the song. Okay, yes. Yes. Like completely. Yeah, no. Like cousins almost, but like twice removed. Right. Versions.

01:30:13 --> 01:30:43 Right. This is a great study of like how songs can change and evolve. Yeah. You know? You know, because there is a K-pop, there's a K-pop group. So like, oh, yeah, this is the X, this is like the 2000X version. And you're like, girl, y'all just took this person's voice off the track. Y'all ain't doing anything different. And these ones, it's like. Yeah, it's like, oh, this is very different. Which version do you like more? Oh, this is a debate amongst the kitten fandom as well.

01:30:43 --> 01:30:54 So if you like the slower version, Carrie's version is slower. It sounds something like for an older woman, you think Spice Girls, right? Like they would have eaten the track up. Like I think we've done enough...

01:30:54 --> 01:31:16 where I think it's not sonically different. We've done enough Spice Girls content for me to be like, okay, goodbye, kind of lean to this kind of realm. It's not the same Spice like Jerry put her toe in this one. You can't really taste her foot in this because she's right. But I feel like they could have done it, right? Yeah. Now with Jenny, it's a little bit different.

01:31:16 --> 01:31:41 you know has a little bit more of a little something going on there's a little bit of infinite which i do appreciate so i think it just depends on how i'm feeling i think in terms of um the emotion of the song and what the lyrics talking about i might prefer carrie's version because quote unquote carrie's version yeah the carrie when carrie's part of the group version yeah i got very clear so sorry for y'all the era the era the carrie era because i'm just like

01:31:43 --> 01:31:59 I feel like it's just there's something there about the tones of voices that sound really sad and emotional. Liz, like she emotes really well in the chorus. And I think Carrie's harmonizing there at times, right? Like she's on that low.

01:31:59 --> 01:32:26 I can't tell. I can't tell either. But there's someone there and it sounds good. Yeah. And it makes the chorus sound vulnerable and delicate. And I know this is going to sound super, super, super random. But like Liz sounded like Vanessa Hudgens in the chorus for like a second. Like for a second. Breaking up with Troy Bolton. Like you're cast with the. Bye now. Bye now. And she's. No, no, no, no. It just sounds like. Okay.

01:32:27 --> 01:32:52 That's not a bad comparison. You know, I mean, Vanessa can take her booty off. Don't give me a walk. I do not agree with half the stuff she says and half the things she does. Oh, I don't know anything about her. She can sing. Just to say Gretman Rock read her to filth recently. But yeah, I love the by now. It's so sustained and distant and it breaks your heart while you're letting go. But yeah, it's so tough because I like Jenny's version too.

01:32:52 --> 01:32:59 Oh, okay. It's hard. They're both really good. They're both really good. So that says a lot. Yeah. Right? But I think...

01:33:00 --> 01:33:26 As they grew as a group, I can acknowledge that the mid-tempo version of the song fits them better. Because to have all these slow songs, you're going toward Honeys territory. Yes. You know what I'm saying? Honeys is not a bad group, but Honeys did that. You don't need a second coming, you know? Totally. They were young and vocally can deliver the emotion. And I think it's good that it's not so slow so it doesn't sound like a purposeful, a complete purposeful song.

01:33:26 --> 01:33:47 attempt at charting at ac because i think you know i'm saying like yeah girl oof yeah yeah i mean i do like the original version yeah i like the kind of 80s kind of atmospheric kind of echoey thing going on because it gives it this kind of ethereal quality which i think is kind of cool uh-huh

01:33:47 --> 01:34:09 But I do actually prefer the later kind of more popified version. And I love... I don't know. I think it just... You still have the emotion of it. But yeah, I think having the extra energy there kind of helps. And I like the addition of Jenny's little layer too in the chorus. Gotta say, say goodbye now. Like that's a nice...

01:34:09 --> 01:34:32 Third part. Yes. Yeah. Natasha has actually mentioned this song quite a few times, actually, like in interviews. Like when she's ever asked about what her favorites are from the kitten, like that catalog, she often names this one, which I think is interesting. But yeah, I really like it. I think the verse melodies are really nice. And then, yeah, there's a definitely...

01:34:33 --> 01:34:51 Liz's pleas in the chorus are so well done. You know? She sounds great there, too. Because I think, you know, yes, she does belt a lot. And right now she belts a lot in Sia and stuff. But Liz is not naturally a belter. Like, she's more of a crooner, I would say. Mm-hmm.

01:34:52 --> 01:35:19 But then when she does get to kind of show those qualities, it does do really well. She kind of does it less and less, I feel like, as we kind of get through the discography. She kind of leans into the kind of sultry or kind of softer tone a little bit more. So it's nice to hear it here. And then I also appreciate, going back to the vocal distribution, Jenny was given the second verse in the tour performance, which I appreciated. She sounded good there. So I think it depends on the song.

01:35:20 --> 01:35:47 Yeah, as we get into it, she found her place, for sure. She finds her place, I will say. Yes. I will give this one an 8, another 8 for me. Okay. This is like the emotional cousin to Sia, except this time it actually hurts. So I'll give this one an 8. Okay. Up next is Strangers, and this was done by Andy McCluskey, Stuart Kershaw, and N-Gen. And Strangers is Liz's solo song.

01:35:53 --> 01:36:08 Can I just say that that little oriental, and I'm using that quote, end quote. The gu-jung, I think, is what you're thinking of the quacky thing. The thing with the twang.

01:36:08 --> 01:36:23 I think it's a gujong. Thank you. I think my accents are wrong, but yeah. Right. Okay. I'd rather say that than oriental because it sounds like a rug. I don't want to do that, but it's giving like a stringed loop. It's very interesting. I don't, I don't dislike it.

01:36:23 --> 01:36:47 But I don't love it. It's just weird. It just creates a unique sound for the album. But I will say that the production seems to rely solely on the randomness of the gujong. Just saying, you know, I'm like, okay, okay. I don't mind a little quang. But this song, it really feels like the second act of,

01:36:47 --> 01:37:03 the second song in Act 2 of The King and I, where Anna and King Monk have an argument about him getting ready to whip, Tup Tim, and she calls him a monk. Very specific. Yeah, no. And there's a reason, okay? Because...

01:37:05 --> 01:37:26 This whole song just feels so... You guys, think about it. There's always that one song in act, too, because you know the show's getting a little... They top-heavy. All the good songs are in the first half, right? That last song before the first act ends, and then the opening song, everyone's singing together, and it's like, hey, we're back! And then there's this one character...

01:37:26 --> 01:37:55 and gets a solo. And you're like... It's a good act. Yeah. And you're like... Totally. I'm like, I don't know if you needed it, but there might be a quick change somewhere. So this song gives that because I think the biggest part, the best part of the production is the bridge because it gets saved with the strings and it builds and it swells with organs and strings before it bursts and then Liz belts more and then it feels like a proper release for her to do her musical theatrics. Like, if you hear how big her voice gets, but like how like...

01:37:55 --> 01:38:15 The song doesn't really go anywhere, but the song gets... I'm sorry. Vocally, it doesn't go anywhere else. There's no harmonies added. But she gets kind of like, This is my moment. We're strange. You know, it's... Again, it's giving King and I, and she got cast as Anna. I'm not mad at it. But also, it was just very... Yeah. Very musical...

01:38:15 --> 01:38:43 Like, show tune-y, but, like, not great show tune. Interesting. I hear show tune. I didn't think about that, but I get it. Interesting. I'm not mad at the Chinese stringed instrument situation. I mean, it's unique. I appreciate the use of it. Yes, yes. As a Chinese person, I guess. You're Chinese. Yeah.

01:38:45 --> 01:39:15 But I will say, just as a song, it just doesn't really do much for me. I think the list sounds good. I mean, especially that big belt at the end, like in the bridge. That's a high note. That's a high note. But yeah, I think it's pretty. But I just wonder if they... I don't know. I feel like there's potential to really turn it into something a bit bigger. But maybe they just wanted to end it with something more understated, maybe.

01:39:17 --> 01:39:35 Harmonies, please. Yeah, I mean, there is this really awkward performance. So on the tour, like Liz does it solo. She actually does it with guitar and piano. Did you prefer kind of that live instrumentation as opposed to the gujong, maybe? I don't know. It's not the instrument. I just think for all of this, like you're relying so heavily on it.

01:39:35 --> 01:39:51 Yeah. And that's the only interesting thing about the song. Yeah, that's fair. That cannot be, you know, I'm like, ugh. That's totally fair. Yeah, so there is a performance that I saw. They did, like, this random gig in Liverpool that made its way on the YouTube in, like, 240p. But I did watch the whole thing in preparation for this. And Natasha and Jenny are doing these...

01:39:54 --> 01:40:19 Like behind it. And it didn't really do much. Right. Didn't help. Okay. So the song is just a... I mean, yes, it probably could have done to me a little more creative with the arrangement instead of just... Ooh. Yeah, an echo of the Centrel of the Strangers. Strangers. Something. I think, but look, I think it's a pretty melody, but yeah, I agree with you.

01:40:20 --> 01:40:47 doesn't do much for me overall i think it's nice that liz has a little moment since natasha has had so many throughout right um but yeah it's fine i thought you could have ended the album on by now let's be real oh you know you know what that's okay so what is your score you sound a lot more favorable than i do i'll give it a seven it's fine all right i'm sitting at a 6.5 okay

01:40:48 --> 01:41:13 So you do get this one-minute silence at the end of Strangers, which is ironic because we were literally just talking about how CDs used to do this because we just reviewed Jade's That Showbiz Baby Deluxe version where she put a one-minute silence in front of the last song. And I was explaining to you that they used to do this. But in this case, they put it at the end of Strangers instead of the front of Sia. So...

01:41:14 --> 01:41:37 While I think that's still at least a better choice, it's still annoying because if I had this on a playlist or something, I would still have to sit through one minute. You'd have to actively skip it, you know, but actively just skipping to the next song is easier than skipping directly one minute to wait for a song to start. Oh my God. Yeah, absolutely. Maybe Jade should have moved the one minute silence to the end of the song before Tar.

01:41:37 --> 01:42:03 Yeah, no. I agree. Anyway, that's my spiel. Okay, moving on to See Ya! Done by Stuart Kershaw, Liz McClarnon, Andy McCluskey, Pete Craigie, and Enjin. And this was released as the group's second single in March 2000 and peaked at number six in the UK singles chart. And they did put this after the one-minute silence to signal that this song and the one after represent back then.

01:42:10 --> 01:42:32 Remember when we had a blonde girl who was like shorter and like a lot louder? Yeah. That's not right now. That was back then. Yes. Oh, God. We love back then. Back then. You know what? I love it in the punching. Wouldn't wanna be.

01:42:33 --> 01:42:56 I like screamed in the microphone. I'm so sorry, everyone. I hear for the little step-step before that. Yeah. I wouldn't want to. Yeah. This sounds, Sia by Atomic Kitten sounds like something that could have only come from the UK. I mean, I could be completely wrong, but something about the. Really? You don't think some Disney, it's going to be a Disney song?

01:42:58 --> 01:43:19 That's not a Disney song. How about that? I'll say that. Right? I'm just joking. I'm totally joking. I'm being, like, so, like, hyperbolic. But it's one of those things where I'm, like, I feel like as a single without needing a movie, without needing a child, a giant, you know, human-like mouse to promote the song. Mm-hmm.

01:43:19 --> 01:43:43 I love Mickey. Don't get me wrong. I freaking love Mickey so much. But I love that they just released the song. The girls are young. They're fun. Could it be put in a movie? Absolutely. But we're making this song, period. You know, not like, oh, it's part of a soundtrack, so we have to do it. Unless there is some lore we don't know about. But yeah, there's a lot of effort and strategy beneath this bubblegum.

01:43:43 --> 01:43:58 Having Liz take lead on this brighter track is a choice. It's not funky. It's not disco or a little bit of R&B, tinge, or ballad. It's pure pop. And, you know, that's important. When you have a group, different voices are so...

01:43:58 --> 01:44:28 I'm trying to jump ahead a little bit. Our biggest complaint is that a lot of K-pop groups, 51 different members, and y'all all sound the same. Yes. Where is... It's supposed to give salad, and right now it's just giving soup. I don't know what's inside of it, but I know something is happening at the bottom of my bowl. This is salad. I can taste my lettuce. I can taste my tomato. And it's giving. I hate tomatoes. Oh, my God. I hate tomatoes. But the point is, Liz fits this whole, like...

01:44:29 --> 01:44:46 spunky and carefree thing. Like she's saying, well, there's plenty more fish, plenty more where you came from. So I think I'll go fish. Like it's so spicy. That's my favorite line. Yes. I love it. And it's so fun. And then when you do have the chorus, you do hear a little bit more of...

01:44:46 --> 01:45:06 Tosh coming in, which I love. But again, Liz, this is her song. And it's meant to be that. Forget Strangers. She had Sia. I mean, yeah. I mean, okay. I get it. It's not like we're taking her seriously here. But I think in terms of singing, she's singing with her chest and there's no bit of mix in there. It's just like...

01:45:06 --> 01:45:36 No vibrato, just like straight. Yeah. Yeah. Play the red dish. I was like, you better go off. And then like, I think the first 30 seconds of the production is the most fun. It has all these odd boinky sounds. Like, it just sounds like a blueskadoo. Like, I don't know, you know. And then you have it come back around where the bridge vocals would typically go, which kind of makes it fun again. It's just, I don't know, something about it just feels so like Saturday morning cartoon. Yeah.

01:45:36 --> 01:45:58 And maybe that's why I like it. Yeah. But yeah, I think these girls have gumption, the top of the pop performance with the punching. I love it. I love it. Wow. I do. Yeah. Yeah. Interesting. Because I actually don't love this song. What if... How could you? I think because...

01:45:59 --> 01:46:22 It feels so young that it felt too young for me at the time, too. Aw, you're so cool. I think that's what it was. You're so cool. Like, I think it's fun for what it is. I think I was just too old for this, even at that point, you know? Okay. Like, going into, like, middle school, I guess. That's valid. I will agree. I love the fish line. Just to say.

01:46:24 --> 01:46:40 but I think yeah listening to it now though just kind of listening to it a bit more just like objectively I agree with you I think they knew they were trying to go for the young kids super accessible in that way and the energy again like right now it's inherent in the backing track already

01:46:40 --> 01:47:08 And they just amplify it so much more with the way that they did the vocal and how it was written. And I love the little whoos and the come on now and like all those little shouts and stuff throughout it as well. Because that adds to that whole element. Yes. To it. To it, yeah. So, yeah, I always, I don't love the song. Yeah, every time I hear it, I just like, oh my God, this is like made for a kid. But I get what they were going for. For sure. And meanwhile, if you look in my room. Hang on.

01:47:09 --> 01:47:23 It's okay. I mean, look, I have Pokemon everywhere. This is true. Okay. I have Pokemon on my mic front. Like, I like the cute things, too. But, you know, I don't know. Now this is just show and tell of all our stuffed animals.

01:47:24 --> 01:47:54 That was cute. But going to the music video, love the video. I think it's very effective. They are just so charismatic, you know, at this point, right? Like, again, it gets very kind of smexy once Jenny joins. And they're so charismatic, but in a different way. Here, where they're just like, like that little, like train trolley situation. And they're just like whipping this giant telescope around. Yeah. You have the big bubbles and stuff. Like, I thought it was really, really fun just to watch them do their thing. Yeah.

01:47:54 --> 01:48:21 That's so valid. I know. I totally think those moments were great. Moon boots, giant rolling balls, and that huge telescope. And I think I watched it thinking, I want to be friends with them. And that's really important. You got to sell it. That's my big sister. You got to sell it. This song gives what that Japanese album cover was giving. So, yeah. Not going to lie. And you add that punchy dance, honey. I'm sold. Yeah.

01:48:22 --> 01:48:51 And also this one here too. This punching one too. Yes. Wow. Honestly, listen, this song is for the girlies. You can't meet any gender when I say girlies. It's for the girlies who like the adventures of Gumball. So as a Gumball fan, this song sits high in my heart. Okay. What did you get it? I gave it a 8.5. Okay. I'll do a 7.

01:48:52 --> 01:49:17 How dare you? How dare you? Up next is I Want Your Love. And this is done by Stuart Kershaw, Liz McLarnon, Jerome Morose, Andy McCluskey, Jimmy Coddy, Ricardo Light, Bill Drummond, Damian Mendes, and Stuart Bradbury. And this was produced by Soul Child. And this samples The Big Country by Cozy Powell.

01:49:17 --> 01:49:47 And initial versions of the single also had a sample of KLF's Justified and Ancient. And the song was released as the third single in the UK and peaked at number 10 on the UK singles chart. Hmm. Okay. Yes. Also, wait, let's give props to Liz co-wrote Sia and I Want Your Love. Oh my God, yes. Yes, we love that. Come on, Liz. Yes. She was like 16 or something at the time, too, which is crazy.

01:49:47 --> 01:49:49 You know what? Maybe the goldfish line is her.

01:49:51 --> 01:50:21 Let's go. You know? Bubble, bubble, bubble. So, okay. So I Want Your Love. I really like I Want Your Love. It's kind of chaotic. Yes. But, again, it's kind of... Like, I really appreciate Stuart and Andy. Like, I can't wait to do our 101 eventually with Atomic Kinn because a lot of business stuff happened here, too. But the two of them, you know, they founded the group. They have the whole A&R vision of it, and they eventually get pushed out, unfortunately. Yeah.

01:50:21 --> 01:50:39 But this is like a great thesis statement for what their vision was, you know? Oh, yeah. They use like these weird samples that you wouldn't ever think to use in a girl group pop song. The structure is kind of all over the place, but it's all very hooky. Yeah.

01:50:40 --> 01:51:08 It's just weird. But it's just so much fun as well. Like, this sounds like it was so much fun to make. Yeah. You know, from making the backing track through to the recording and boom! You know, and doing all these... I'm so sorry, guys. It's so fun, especially the very original version, which I think was still called All of the Right Things, I think. Yes, it was, yeah. On the Japanese version with the extra sample and stuff. It's literally giving DDR.

01:51:13 --> 01:51:37 oh my god dude i put that in my notes too yeah it has all these like alien sits and stuff and i was like oh my god this was for the japanese market like this i legit was like this is twice diamond and on ddr like yeah like this is ddr oh my god yes i love that if that hope that was an inspiration you know like let's make something that's like super energetic and it's just like arrows arrows

01:51:37 --> 01:52:07 And then you do get this vocal where it's like, you get a line, you get a line, you get a line. Then it goes, you get a line, you get a line. It's like, oh, it's so much fun. You get that little push it. Don't push it. You get all these fun ways of saying, don't push it. You know, they have all these fun ways that they execute that as well. I just think, yeah, just super, super fun. Again, just a little weird. But I think that's what makes it stand out. Yeah, it was. I think for me, I was like, steps, steps. Oh, it's a little weird for steps.

01:52:07 --> 01:52:24 It is, but I can see like, but also the influence is mildly there in my brain, right? Because I'm like the harmonies, the pacing of the song in terms of like, all of the right things, all of the right things, all of the right things. You know, you can totally stack, you know, eight. Totally.

01:52:24 --> 01:52:45 h and uh that's so hard to h um and um lee's voice but um even get liz's bigger notes that sound like ones that claire would hit you know so i'm like oh yeah yeah no yeah oh you get these moments where like wait is it no there's no way and you hear a note you're like okay

01:52:45 --> 01:53:02 I can see this happening. It's a little more, it's a little beyond ABBA on speed, I would say. And I think it's because of the flurry of strings from the sample. And then you have like this pulsing beat making everything bounce. It's a lot. It is. I would say like,

01:53:02 --> 01:53:26 The original version has like this little breakdown at 140. Let's bring it back to 140. The girl's generation shout out. And the original version, there's like speaking bits too. And it's so fun. Oh, yeah. You said you would call me. And it's like, it's just so funny. And I will say though, the I want your love version version.

01:53:26 --> 01:53:45 is good because of that boom. Boom. Hang on. It hits the head. Natasha's so dramatic. She's like, boom. Drops. It's so dramatic. I think it's good because of that. And it's fun.

01:53:45 --> 01:54:01 And having the girls, like you said, pass the lines is great. You can hear all those tones. But it also makes the song structure feel even more frantic because it's like, Na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-

01:54:01 --> 01:54:27 It's so funny. And I would say, like, for their visuals, it's probably, like, my favorite one. Oh, yeah. So far from this era. Like, if you guys are K-pop fans, even if you're not, my advice would be, like, look at, like, Ujusonyo as, like, Cosmic Girls. They have, like, videos like this, but especially Stacey. Their first song, So Bad, with, like, the planet and, like, the little capsules. All I could think was, wow, like...

01:54:27 --> 01:54:51 These girls are stranded on an island and they're dancing their little butts off. That's what Stacey did in the So Bad video. Yeah. And I just love how, like, they're standing there being, like, Star Trek baddies. Because it's not Star Wars. Yes. It's not. Correct. But they're being Star Trek baddies. They're like, oh, live long and prosper. Smizing at the camera. And then Carrie's so lyrical. She is falling all in this room. I'm like, girl, y'all have already crashed. What are you doing, though?

01:54:53 --> 01:55:13 But it's so fun. And then the dancing and the way it was filmed, like everything is just so energetic and fun and fresh. And it feels like, wow, I wonder what would have happened if the girls would have kept, if Carrie would have stayed, and would have kept like this high octane kind of, because Atomic Kitten space, it just sounds like a superhero.

01:55:13 --> 01:55:41 You know, like the dancing was so fun. The dance break was really cool. It was a little weird, I would say, at one point, because the dance break went from like sound effects and then it was like a cool beat. And then it was like pushing and like, I'm like, what's wrong with y'all bodies? It sounds like bones. But it was still fun. Like we were trying, you know? Yeah. But yeah, I think at that point, I mean, like kind of what I was trying to say, like it is a little sad that they never went back to let themselves be as experimental as this song.

01:55:41 --> 01:56:05 yeah i think later on like again i i do like how slick it got i do think they're great albums but yeah in another timeline it would have been very interesting to see if they let themselves keep this part of their sound alive as well yeah and yeah the choreo i mean so much jumping so much thrusting oh yeah lassoing yeah the left it's just it's a lot

01:56:05 --> 01:56:32 It's ridiculous. The thrusting and the shimmies. Oh my god, yes. So yes, I give this one to nine. How about you? Oh, I'm a bit of a C-R-A-C-K head, so I give this one to ten. This is like my type of song. Maybe a 9.5 if I'm not trying to be like, oh, it's as good as right now. Nah, it's good. Give it a ten. Yeah, nice. Okay, so that concludes...

01:56:32 --> 01:56:56 The standard version. The 2001 re-release of Atomic Kittens right now. I do hope that they, if they release a definitive version of this album, it would be like 50 songs. These songs have so many different versions. There's all these B-sides. It's crazy. This era is just wild. But yeah, now we're at our Cut or Keep section. Oh. So...

01:56:57 --> 01:57:23 If we had to cut a song off this album, what would we cut and why? Okay, if I had to cut a song, I feel like Strangers is an obvious one, but if I was thinking about a group... Yeah. Oh, God. If I was thinking about a group song that needed to go, it would probably be one of my sevens, right? Let me see. You can make me home. Oh, this is hard, actually. As I look at this album, I think it's actually pretty well sequenced.

01:57:23 --> 01:57:53 Yeah, you know what? Strangers can go. Yeah, I think I'm going to have to go with strangers as well. Yeah, it doesn't do any well. It's actually really hard for me to choose any of these other ones. Yeah, because I don't dislike anything as strongly as strangers. Even with my, like, I love getting to know you, getting to know all about you. I love King and I, the King and I. But what we're not going to do is have a song that was a reject from that musical from, like, 100 years ago. So we're going to go. All right, for Keep. Ooh. Ooh.

01:57:54 --> 01:58:19 Okay, I'm not going to choose the obvious ones here. Let me guess. I mean, does Cradle count as an obvious one? It was like kind of a single. It's hard because everything kind of feels like it was a single. I know. Okay, if I had to choose a song that was never a single in any way or form. Capacity, right? I think I would maybe choose Tomorrow and Tonight. Tomorrow and Tonight. Yeah. Yeah, I'm looking too. Or Bye Now, actually.

01:58:19 --> 01:58:41 by now oh my god yeah yeah oh okay by now i'll choose by now if you're not okay yeah i'll do okay oh that you mentioned it yeah i'm scrolling through and i'm like they kind of were like let's promote everything oh yeah we got we want to lose our jobs like okay so overall thoughts this is your first atomic kitten album

01:58:41 --> 01:58:59 You know, to finally have the song to the name. I love the name Atomic Kitten. I'm like, honey, I don't know what an Atomic Kitten is, but I want some Atomic Kitten, whatever that is. So, yeah, I think it was really fun. I like that. I think it fit them as what they thought the girl group was going to be.

01:59:00 --> 01:59:13 I think it was well thought out. I think when the songs were energetic, they were super energetic. When they were ballads, they were really good ballads as well. Yeah. And although I did not care for Halligan, y'all can take that. Oh, my God.

01:59:14 --> 01:59:39 I understand where it fits in their whole thing. And also, if you think about the time when music came out, being a serious pop artist, it's kind of important. You want to be cool and taken seriously. So I get it, why it fits for their whole trajectory. But I think with what they did from being super energetic and then being able to fit into this whole thing

01:59:40 --> 02:00:08 like, mature thing is a testament to who they had in that group. Because without Natasha, to kind of ground them, like, yes, Liz can sing, but I think there is something to be said when you have most of your bouts being led by this chick who has, like, this really raspy voice. Yeah. You know? Liz can sing her face off, but if you would have gotten more girls to kind of, like, come behind Natasha, what would it have sounded like? And it would have just sounded like any typical pop. Having those two

02:00:08 --> 02:00:24 there's something, it's like salt and pepper. Like, yeah, it's too salty. Yeah, it makes me sneeze a little bit, but together, delicious. Not that salt and pepper is the only seasoning y'all should be using on your food. You need other things as well. You need other things too, yeah. Enter Jenny. Oh, hello. Hello. Mm-hmm.

02:00:24 --> 02:00:43 Yeah, so I think it's a good album. Solid album. Yeah. Here's the rest now. Yeah, I'm really excited to talk about the other two. I'm probably going to go listen to the other two now. Just because now I'm in like an Atomic Hidden mood. Yeah, I mean, going off what you're saying, Natasha is genuinely one of the best voices of that time.

02:00:43 --> 02:00:59 Uh-huh. And, like, she's now been releasing solo music, so I'm just excited just to hear her voice, because it's matured really nicely as well. Yeah. I think, technically, it's gotten even better. Her range has gotten even bigger. Like, it's kind of crazy. And, yeah, I think...

02:01:00 --> 02:01:18 Just thinking about this whole era, like I said, business-wise, it's crazy. Oh, my God. They went through a lot. Just kind of what they went through. Yeah. So, again, just props to Andy and Stuart. I really appreciate that they had a vision because especially now, you know, we're talking a lot about current groups. Yeah. Current artists. And it's like...

02:01:18 --> 02:01:44 you need to figure out your sound. You know, they're just throwing stuff at the wall and seeing what sticks a lot of the time. And in this case, it was complete opposite. They had a very, very clear vision, and they weren't scared to experiment a little bit and play around with different sounds and different instruments and stuff. So I just think that's cool. It's a unique album. Like, I couldn't name another album that sounds like this. Yeah. Yeah.

02:01:44 --> 02:02:09 really and i think that's what's so cool i could say you know when you get to the other two albums a lot of girl groups and a lot of pop tried to copy what they were doing and that's why they became a lot of what was kind of like the base of what what pop music was right okay cool so and for example the saturdays like they sound like to me a very clear evolution from a ton of kitten

02:02:09 --> 02:02:31 Oh, again, I only came in like on your radar. Kind of safe-ish, but really good, like dance pop, essentially. That's valid. No, it's not valid. Yep. So yeah, I think it's been fun for me going back to this, like I mentioned, just because I just kind of know where they go. Yeah. And they strayed quite far from this. But this as a standalone project is super strong.

02:02:31 --> 02:02:49 So, yeah. So, yeah. As a whole, I will give it an 8.5. Oh, nice. I will give it an 8. I have some little scores on there. Yeah. So, I have to give it an 8. Nice. So, let us all... What is Atomic Kittens fans called? Atomic Dogs. That is a George... That's a George... What's the opposite of Atomic? Atomic.

02:02:50 --> 02:03:02 Massive. I don't know. He was opposite atomic. Non-atomic. Y'all proud. The non-atomic dogs. The non-atomic dogs.

02:03:03 --> 02:03:33 The nuclear dog. Molecular dogs. Molecular dogs. Okay, there you go. There you go. Yeah. Okay. So I don't know if Atomic Kitten has a fandom name or we're going to call each other Molecular Dogs. So Molecular Dogs, what do you all think of Atomic Kitten's debut album? Let us know in the comments and tell us what other artists or albums you'd like for us to review next. And a huge shout out to our CCTV crew on Patreon. That includes Lily, Emily, George, Julianne, Jonathan, Janelle, Jasmine, Darius, Ren, Jessie, Hillary, Ellie, Luke, and Thanos.

02:03:33 --> 02:04:02 We generally could not have done any of this without y'all. Thank you so much. You can follow us everywhere at CCTV Pops. If you are watching on YouTube channel, don't forget to subscribe and turn on the notifications. And if you are listening on a podcast app, a follow or a rating, five stars, five stars, really helps. Until next time, that's Chris. That's Shenzel. We're signing off from CCTV, the nonstop pop show. See ya. Wouldn't wanna be ya.