Mis-Teeq "Lickin' on Both Sides" turns 25, and Chris and Chantel give the debut a full track-by-track honest review, from the singles you know by heart to the deep cuts. This is the album that fused R&B and UK garage into pop and proved a British girl group could sound like no one else.
We go song by song through the standard album, rating production, vocals, visuals, and performances, and finishing with a Cut or Keep. Along the way we untangle why nearly every single exists in three different versions, and dig into the stories behind them: "One Night Stand" as Stargate's first big break years before Rihanna and Beyoncé, the Sunship garage smash "All I Want," the So Solid Crew link on "They'll Never Know," and "Why?", the only Mis-Teeq song featuring original fourth member Zena McNally, who returned to the stage for the group's reunion.
Speaking of which, we get into the 25th anniversary Wembley show and the drama that followed once the reunion fell apart. Alesha Dixon, Sabrina Washington, and Su-Elise Nash made a real UK garage classic. Does it still hold up 25 years on?
Timestamps:
- 0:00 - Intro
- 0:42 - “Lickin’ On Both Sides” Album Info
- 2:33 - Album Cover
- 5:12 - “One Night Stand”
- 18:12 - “That Type of Girl”
- 21:30 - “Roll On”
- 29:29 - “B With Me”
- 38:05 - “Why?”
- 47:12 - “They’ll Never Know” feat. Asher D and Harvey
- 51:17 - “Stamp Reject”
- 55:04 - “All I Want”
- 1:00:57 - “Nasty”
- 1:04:51 - “These Days”
- 1:09:34 - “Better Better”
- 1:11:47 - “Secrets of the Night”
- 1:16:56 - “You’re Gonna Stay”
- 1:21:30 - Cut or Keep
- 1:23:50 - Overall Thoughts & Final Rating
References:
- “One Night Stand” UK MV: https://youtu.be/6CZS-D0se00?si=O7t4HCAHmv10DGOL
- “One Night Stand” US MV: https://youtu.be/V_UP1IOgx24?si=sTCdXfRb7Bpxflur
- “One Night Stand” Live at Later…with Jools Holland https://youtu.be/7X5uQ225cT0?si=MQXTlS_XQnnHAeyj
- “Roll On” / “This Is How We Do It” MV https://youtu.be/WCD_c6S2NNA?si=y-kZBh6itqYLXIL_
- “Roll On” / “This Is How We Do It” Live on TOTP https://youtu.be/8JB6T_r7d8Y?si=lhYRmntoMLbrgG3O
- “B With Me” MV https://youtu.be/lwMFIo-zUNo?si=Qlp-OUdTrMlBFumu
- “B With Me” Live on TOTP https://youtu.be/AWycCHzUkY4?si=FITgqf9vXS4a0KSW
- “Why” RnB Mix MV https://youtu.be/G2ayaDHYtp0?si=w2qR613RDBKxtbmv
- “Why” Garage MV https://youtu.be/eeIxA1w0Ytg?si=xxmSJEhjxPCItuM-
- “Why” feat. Zena Live in 2026 https://youtu.be/QsQ_Oms_qTk?si=efm8-AG2G31ZEYMh
- “All I Want” MV https://youtu.be/sEecGdMpcoU?si=p7eudgrtJEF3u5O3
- “All I Want” Live on TOTP https://youtu.be/iGVtmw9cna0?si=yTOr8_2glNcQRWnM
00:00:00 --> 00:00:06 Temptations, sensations, vibrations, my one-night stand.
00:00:07 --> 00:00:08 It's a one-night stand.
00:00:08 --> 00:00:11 Baby, here I am.
00:00:11 --> 00:00:18 This is CCTV, the nonstop pop show where we do honest music reviews and iconic interviews across global pop.
00:00:19 --> 00:00:19 Yes.
00:00:20 --> 00:00:25 And on today's episode, our patron member, George, has made a request.
00:00:25 --> 00:00:27 And this request has been sitting in the queue for a little while.
00:00:28 --> 00:00:31 But we're here to review Mystique.
00:00:31 --> 00:00:41 And since they had their reunite, reunition, and since they had their reunion for the one night only show at Wembley Arena, it is time to finally get into their music.
00:00:41 --> 00:00:42 Mm-hmm.
00:00:42 --> 00:00:50 So we are starting off with their debut album, Lickin' on Both Sides, released in October 2001 on Telstar Records.
00:00:51 --> 00:00:55 And of course, Fastique consists of members Alicia, Sabrina, and Sue Elise.
00:00:55 --> 00:01:03 But there was member Zena, or Zayna, I believe, in the early stages of the group, who does feature on the very first single, Why?
00:01:04 --> 00:01:10 And there is a lot of lore with Mystique that we are not going to be able to dive into today.
00:01:10 --> 00:01:23 But if you want a full career retrospective, let us know in the comments below because we have done a full series documentary style about some of POP's top acts, including The Spice Girls, Girls Aloud, and so many other acts, including K-pop acts.
00:01:24 --> 00:01:25 Hey, yes.
00:01:25 --> 00:01:37 So the title Lickin' on Both Sides represents the group's ability to blend R&B and UK Garage, or garage, as they say, and it features production from big names like Stargate, Blacksmith, and more.
00:01:38 --> 00:01:45 And Lickin' went on to be certified double platinum charting at number three on the UK's album chart, spotting five top singles in the UK.
00:01:46 --> 00:01:55 And like you mentioned earlier, they did reunite for a one night only concert at Wembley Arena, which our patron George did go to.
00:01:55 --> 00:01:55 Yes.
00:01:56 --> 00:01:58 And it seems it really is one night only.
00:01:59 --> 00:02:08 Yeah, because since then there has been some interesting developments that I will not address at the moment because I have some worries about it.
00:02:09 --> 00:02:10 Oh, God.
00:02:10 --> 00:02:11 Look, communication.
00:02:11 --> 00:02:13 It's all communication, people.
00:02:13 --> 00:02:14 That's right.
00:02:14 --> 00:02:22 But speaking of communication, we are going to communicate to you our ratings for the production, vocals, visuals, and performances of each song.
00:02:22 --> 00:02:25 And you are so free to join us, of course, in the comments below.
00:02:25 --> 00:02:26 Okay, keep it clean.
00:02:26 --> 00:02:28 And also, viewer discretion is advised.
00:02:29 --> 00:02:30 Your fave will be criticized.
00:02:31 --> 00:02:36 So before we talk about the music, let's talk about the album covers, because there are two.
00:02:36 --> 00:02:37 Yeah.
00:02:37 --> 00:02:39 So the main original release.
00:02:39 --> 00:02:43 Actually, this was released quite a few times, but they just kind of changed the font a few times.
00:02:43 --> 00:02:46 Anyway, so the main version has the girls.
00:02:47 --> 00:03:16 on motorbikes ducatis i want to ride a motorcycle so bad a ninja is a ninja motorcycle i love moto mami's okay motorcycles are considered like a really sleek aerodynamic like sexy method of transport you know yeah um they're fast they're you know they're shiny and the girls are giving that you know nightlife you don't really see like people of course you see people riding their motorcycles during the day but there's something about you know seeing things zoom past you know it's
00:03:16 --> 00:03:17 Bright light.
00:03:17 --> 00:03:18 And I love how the girls look.
00:03:18 --> 00:03:19 They look like they're ready for the club.
00:03:19 --> 00:03:22 They're showing up again, ready to go.
00:03:22 --> 00:03:30 And I do believe their one night stand concert included like a poster of them holding like, was it a motorcycle helmet?
00:03:30 --> 00:03:42 So it's like it's kind of keeping that continuation of like nightlife, good vibes, just kind of like club music, which was important for what they were doing, considering where UK Garage came from at the time.
00:03:43 --> 00:03:44 Yes, I really like it.
00:03:44 --> 00:03:46 I like the red and the lime green.
00:03:46 --> 00:03:48 I think they look cool.
00:03:48 --> 00:03:52 Especially Sue Lee's line on it.
00:03:52 --> 00:03:53 Yes, laid out.
00:03:53 --> 00:03:55 And honestly, I love the album title as well.
00:03:55 --> 00:03:57 It's so memorable and it's a great concept.
00:03:58 --> 00:03:58 Oh my gosh.
00:03:59 --> 00:04:00 It sounds so nasty.
00:04:01 --> 00:04:04 When I was like, looking on both sides, that's crazy.
00:04:05 --> 00:04:07 That's insanity.
00:04:07 --> 00:04:09 So the final special edition of the album.
00:04:11 --> 00:04:12 I don't love this cover.
00:04:12 --> 00:04:15 Oh, the all-white, like, yeah, I'm not really a fan.
00:04:15 --> 00:04:16 Lying on the ground.
00:04:16 --> 00:04:16 Yeah.
00:04:17 --> 00:04:18 Yeah, it's okay.
00:04:18 --> 00:04:23 There are a lot of R&B-ish girl groups that have an album cover exactly like this.
00:04:24 --> 00:04:29 Yeah, so it's like a weird, like, was it... What's the word for, like, a white, like...
00:04:30 --> 00:04:55 angel angelic kind of look but they're not those girls like the whole lick on both sides first of all it sounds crazy but it means that they're doing the garage and the r&b this is not giving garage and r&b it's giving i guess there's deserts back there like hills um i love it yeah i love that yeah it doesn't match the sound of the album at all no but i think those are the aesthetics that were really cool at the time like right now silver and like cyber sigilism is like really hot and pop so you'll see a bunch even k-pop artists do that so i think it's one of those things where it's like
00:04:56 --> 00:04:57 It looks cool.
00:04:58 --> 00:04:59 Let's throw it all there.
00:04:59 --> 00:05:01 Let's try this kind of cover.
00:05:01 --> 00:05:01 Yeah.
00:05:01 --> 00:05:03 See if we can get more sales.
00:05:03 --> 00:05:03 Yeah.
00:05:04 --> 00:05:05 I mean, their songs do that, too.
00:05:05 --> 00:05:08 We got two different versions or multiple different versions of all these songs.
00:05:08 --> 00:05:11 So we're really excited to get into them.
00:05:11 --> 00:05:12 Okay.
00:05:12 --> 00:05:14 So starting with One Night Stand.
00:05:14 --> 00:05:15 Yes.
00:05:15 --> 00:05:18 And of course, it's the Stargate radio edit that's on the album.
00:05:18 --> 00:05:23 And this was done by Stargate, Alicia Dixon, Sue Elise, and Sabrina.
00:05:23 --> 00:05:24 of Mystique.
00:05:25 --> 00:05:30 And of course, Stargate is made up of Tor Eric Hermanson and Mikkel Storlier Erickson.
00:05:30 --> 00:05:33 And there's also credit for Holger Rastan.
00:05:33 --> 00:05:38 And this was the third single from the album, peaking at number five on the UK singles chart.
00:05:38 --> 00:05:44 And it did hit the top five on the US Billboard dance chart as well, because the US did get a release.
00:05:44 --> 00:05:52 It was remixed by, or re-remixed, actually, by Stargate and released in 2004 as the second US single following the success of
00:05:53 --> 00:06:17 course they had to cut promotion short because that's right when their record label went bust oh goodness yeah and of course there are actually two versions of the music video as well there is the uk video set in a club which features the stargate mix mashed up with the sunship remix and then there is the u.s and international video which was directed by jake nava of course is famous for doing beyonce's single ladies and crazy in love
00:06:23 --> 00:06:24 Yes.
00:06:24 --> 00:06:24 Oh my gosh.
00:06:24 --> 00:06:25 I mean, I played this song.
00:06:25 --> 00:06:27 This is the name of the concert.
00:06:27 --> 00:06:29 Also, correction on me.
00:06:29 --> 00:06:34 I think that the helmet poster may have been an AI thing that I saw on someone else's video, guys.
00:06:34 --> 00:06:35 I'm so sorry.
00:06:35 --> 00:06:37 Do not go look that up and clock me in the comments.
00:06:38 --> 00:06:38 Whatever.
00:06:38 --> 00:06:39 It's okay.
00:06:40 --> 00:06:42 But I'm pretty sure I saw it.
00:06:42 --> 00:06:44 But I think someone was just using that as their own thing.
00:06:44 --> 00:06:44 Stop using AI.
00:06:45 --> 00:06:46 Anyway.
00:06:47 --> 00:06:48 It would have been cool.
00:06:48 --> 00:06:50 It would have been amazing.
00:06:50 --> 00:06:51 That's so frustrating.
00:06:52 --> 00:06:54 Shout out to whoever generated that photo.
00:06:54 --> 00:06:55 It's actually really clever.
00:06:56 --> 00:06:58 So I'm okay with making a mistake, you know?
00:06:58 --> 00:07:00 But I don't think I'll make a mistake with my rating of this song.
00:07:00 --> 00:07:03 I feel like this song is good to start with.
00:07:03 --> 00:07:04 One night stand.
00:07:04 --> 00:07:11 Also, considering the time that the song was released, having a one night stand as a lady is not considered classy.
00:07:11 --> 00:07:13 So I think this is very bold.
00:07:14 --> 00:07:17 I mean, this is pure, pure early 2000s Stargate.
00:07:17 --> 00:07:25 Like before they were the guys behind Umbrella and Beyonce's Irreplaceable, they were like right here, perfecting the art of club strut.
00:07:25 --> 00:07:26 Instrumental.
00:07:26 --> 00:07:27 Okay.
00:07:27 --> 00:07:29 And honestly, this song...
00:07:31 --> 00:07:33 is essentially about being like the audience.
00:07:34 --> 00:07:35 It can be a man, woman, whatever.
00:07:35 --> 00:07:39 The audience's fantasy while making it extremely clear that she's like not the one buying into the fantasy.
00:07:39 --> 00:07:40 It's so funny.
00:07:40 --> 00:07:43 It's like, oh yeah, I'm all of that, but she can't actually touch me.
00:07:45 --> 00:07:47 Jumpin' Jumpin' came out a year prior, right?
00:07:47 --> 00:07:51 And I feel like the only thing that they, quote unquote, copied was like Beyonce's crimped hair.
00:07:51 --> 00:07:53 But that's for the music video, right?
00:07:53 --> 00:07:57 But when I think about this song, though, I don't think this is copy.
00:07:57 --> 00:07:58 It's not copy and paste.
00:07:58 --> 00:08:00 Like, this is their first single.
00:08:00 --> 00:08:01 Destiny's Child had to work
00:08:02 --> 00:08:20 up to jump and jump in but these women are grown job done want to have fun i'm stepping on cristal okay like they're grown they're drinking age um there's no not no after school nonsense um but yeah i think some of the lines like close range full clip is crazy like what lines like that get me
00:08:21 --> 00:08:26 And then the beat itself was like really wiry and dark string instruments, creating urgency.
00:08:27 --> 00:08:30 But yeah, this whole song feels like we're we like to party and has a fun groove.
00:08:32 --> 00:08:34 But yeah, like Alicia bringing the dancehall vibes.
00:08:34 --> 00:08:36 I hear her and I'm like, wow.
00:08:37 --> 00:08:46 I don't know a lot about dance hall, like female and dance hall, but my sister is Jamaican and she's listened to like Patra and like other like well-known singers.
00:08:46 --> 00:08:48 I'm like, what is that raspy thing?
00:08:48 --> 00:08:49 And she's like, girl, they love it.
00:08:50 --> 00:08:51 The men love it.
00:08:51 --> 00:08:51 So we do it.
00:08:51 --> 00:08:55 And I'm like, oh, even when she speaks like in patois, it sounds a little bit more like gruff.
00:08:55 --> 00:08:58 And I'm like, oh, like as an adult now, I'm like, oh, yeah, it's hot.
00:08:59 --> 00:09:03 But yeah, no, that's like so interesting to have like your quote unquote squeaky voice rapper.
00:09:04 --> 00:09:07 not sound like left eye, but then like bring like this cool little dance hall.
00:09:08 --> 00:09:09 It's very interesting.
00:09:09 --> 00:09:10 Yeah.
00:09:10 --> 00:09:10 Yeah.
00:09:10 --> 00:09:12 I mean, look, we should just talk about it now.
00:09:12 --> 00:09:16 Like Alicia is what makes Fistique sound what it is.
00:09:16 --> 00:09:17 Yeah.
00:09:17 --> 00:09:20 You know, like it is so trademarked.
00:09:20 --> 00:09:22 Like the second you hear her, you know, it's them.
00:09:23 --> 00:09:23 Yeah.
00:09:23 --> 00:09:24 Which is awesome.
00:09:25 --> 00:09:27 But then you are kind of relying on it as well.
00:09:27 --> 00:09:30 That as we get into some songs where she doesn't do it, then it's like, it feels like there's something missing.
00:09:30 --> 00:09:33 So it's kind of like a double-edged sword a little bit, I think, for me.
00:09:33 --> 00:09:34 Too strong, too strong.
00:09:34 --> 00:09:38 But at the end of the day, I think it is her rap that gives them that signature sound.
00:09:39 --> 00:09:40 And it is what people think of.
00:09:41 --> 00:09:46 Even when I was watching a lot of these music videos, performances and stuff, you know, on YouTube, you can see where people skip to or repeat it.
00:09:47 --> 00:09:48 Almost played, yeah.
00:09:48 --> 00:09:51 Yeah, you can tell that it spikes up when Alicia's verse is.
00:09:51 --> 00:09:52 Yeah.
00:09:52 --> 00:09:52 Yeah.
00:09:53 --> 00:09:56 So people just skip towards straight to it.
00:09:56 --> 00:09:58 Yeah, because there's even a beat change.
00:09:58 --> 00:10:04 Like, the UK has got, like, I mean, Bohemian Rhapsody and a smaller, like, biology.
00:10:04 --> 00:10:07 Like, in terms of genre, tourism.
00:10:08 --> 00:10:12 I think that's not the word I would use for this at all, but in terms of like genre bending.
00:10:12 --> 00:10:12 Yes.
00:10:13 --> 00:10:13 UK poppers.
00:10:14 --> 00:10:14 Poppers.
00:10:14 --> 00:10:15 Wow.
00:10:15 --> 00:10:16 UK pop people.
00:10:16 --> 00:10:17 Got it.
00:10:17 --> 00:10:18 Because I'm sorry.
00:10:18 --> 00:10:19 Yeah.
00:10:19 --> 00:10:20 It's so interesting.
00:10:20 --> 00:10:20 Actually.
00:10:21 --> 00:10:21 Yeah.
00:10:21 --> 00:10:28 Speaking of that switch up that they do, the one thing I didn't love about the US mix of the song, because actually it's much more lush, that one.
00:10:28 --> 00:10:32 And they kind of added more of Alicia's like ad libs and stuff all over it.
00:10:32 --> 00:10:40 But then for her rap, they kind of toned down that switch up, which I thought was an interesting choice for American radio.
00:10:40 --> 00:10:41 But, you know.
00:10:46 --> 00:11:10 I don't think here's my thing I have like this theory I would be so insulted if I was an American music consumer and like the industry was telling me I was too stupid to comprehend that a beat was switching up I'd be so offended like just let it happen see what happens like the song is so hot yeah yeah whatever yeah I love one night stand like we are kind of just starting off at the peak for me because I think it may actually be my favorite mystique song
00:11:11 --> 00:11:33 out of their entire discography because yeah like you said it's just perfect early 2000s pop it's sleek you get this great layer of synths and the chorus is just so catchy and fun to sing along to and strut along to yes like even though that music video is literally just them just like most of it's more of them just walking into the club yeah through the club
00:11:33 --> 00:11:36 But that's what this song feels like, you know?
00:11:36 --> 00:11:37 Mm-hmm.
00:11:37 --> 00:11:38 So I love that.
00:11:39 --> 00:11:41 And yeah, this is one that I...
00:11:41 --> 00:11:45 I wasn't a huge fan of Mystique growing up, but I have this single.
00:11:46 --> 00:11:46 Oh, really?
00:11:46 --> 00:11:47 You know?
00:11:47 --> 00:11:48 That is so fun.
00:11:48 --> 00:11:49 Oh my gosh.
00:11:49 --> 00:11:49 Yeah.
00:11:49 --> 00:12:00 And of course, there is the Garage remix, the Sunship remix, which is super fun, super high energy, and the ultimate version, to me, is the one that they used in that music video, the hybrid one.
00:12:05 --> 00:12:33 yeah it's oh my god i i will say the discography the rollout is really confusing at first because i was like wait what there's another version wait what is it yeah i think with this album like just to get it out of the way you're we're gonna get a lot of moments where it's like this sounds like a great solid bass but the single is the single like that is the final version that is it's like you know final form i'll all sell or like you know for any dragon ball z fans
00:12:34 --> 00:12:37 But yeah, it's the final form, you know?
00:12:37 --> 00:12:38 Eternal Sailor Moon, if you will.
00:12:39 --> 00:12:42 But yeah, the music videos, like you said, were super fun.
00:12:43 --> 00:12:44 But yes, quick question.
00:12:44 --> 00:12:46 If you could have a one-night stand.
00:12:49 --> 00:12:52 Well, to be fair, in this song, they don't actually get with the guy.
00:12:52 --> 00:12:53 They don't.
00:12:54 --> 00:12:55 But I don't have one.
00:12:55 --> 00:12:56 I don't have one.
00:12:56 --> 00:12:58 But Chris did have a one-night stand, guys.
00:12:58 --> 00:12:59 He did.
00:12:59 --> 00:13:01 He had it with Melanie C. He was on stage with her.
00:13:02 --> 00:13:02 Okay?
00:13:02 --> 00:13:03 By one night... Yeah.
00:13:05 --> 00:13:07 I was like, where are you going with this?
00:13:08 --> 00:13:10 Guys, I know, it sounded so scandalous.
00:13:10 --> 00:13:11 Not that album.
00:13:11 --> 00:13:16 But the point is, if I could have a one-night stand, like, performance with any artist, I'm trying to think, oh my god.
00:13:17 --> 00:13:17 That is so hard.
00:13:17 --> 00:13:20 I feel like Beyonce would eat me alive, but maybe Rina Sawa-yam.
00:13:22 --> 00:13:24 I would be very scared to perform with Beyonce.
00:13:24 --> 00:13:24 I would be like...
00:13:25 --> 00:13:26 Crazy love.
00:13:27 --> 00:13:29 Like, I feel like Santa has given it.
00:13:30 --> 00:13:36 Honestly, like, after listening to the song and this album, maybe Mystique, I would love to perform with them, a couple of them.
00:13:37 --> 00:13:39 Yeah, I was about to say, it won't be all three.
00:13:39 --> 00:13:40 I know.
00:13:40 --> 00:13:43 Oh, my God.
00:13:43 --> 00:13:44 Sorry, but yes.
00:13:44 --> 00:13:45 Okay, so we have two music videos.
00:13:45 --> 00:13:46 Oh, music videos, music videos.
00:13:46 --> 00:13:47 Yes, what did you think?
00:13:48 --> 00:13:49 Oh, okay.
00:13:49 --> 00:13:53 So the jumpin' jumpin' hairstyle makes an appearance in the UK version.
00:13:53 --> 00:13:54 Yes, it does.
00:13:55 --> 00:13:56 The Little Mermaid crimp waves.
00:13:56 --> 00:13:57 Oh, yeah.
00:13:57 --> 00:14:01 I mean, honestly, and if they're wrong with that, go off, girl.
00:14:01 --> 00:14:06 But yeah, I like the club vibe of the UK version.
00:14:06 --> 00:14:10 I think looking back in it retroactively is kind of giving like mild Target commercial.
00:14:10 --> 00:14:13 Like we now sell, you know, club clothes.
00:14:13 --> 00:14:13 It's not just wild.
00:14:13 --> 00:14:14 It's very bright.
00:14:14 --> 00:14:18 That was my only comment on it because I think the whole vibe was fun.
00:14:18 --> 00:14:22 I like the yellow and the pink is kind of the colors, but it was just so well lit.
00:14:23 --> 00:14:23 Yeah.
00:14:23 --> 00:14:25 that it didn't really feel like a club.
00:14:26 --> 00:14:30 And then you have the opposite with the U.S. one where it's like very dark.
00:14:30 --> 00:14:30 What?
00:14:30 --> 00:14:32 Yeah, like who am I looking at?
00:14:32 --> 00:14:34 You're squinting like, what is this?
00:14:34 --> 00:14:36 Yeah, and it was like a runway.
00:14:36 --> 00:14:39 So this, again, they were, they were, I'm trying to say the word.
00:14:39 --> 00:14:42 They were, they were busy stunning.
00:14:42 --> 00:14:43 They were amazing.
00:14:46 --> 00:14:49 I can't say it because we don't get censored, god dang it, but they were stunting.
00:14:50 --> 00:14:51 Like they were, you know, kiddie stunting.
00:14:51 --> 00:14:55 They also, they were kiddie stunting, and that's the US version, the strutting down.
00:14:57 --> 00:14:59 I will say I love their looks.
00:15:00 --> 00:15:02 I'm okay with the whole like fashion thing.
00:15:02 --> 00:15:04 They look like models, but I don't know how I feel.
00:15:04 --> 00:15:05 I'm like not in love with it.
00:15:05 --> 00:15:05 It's okay.
00:15:06 --> 00:15:07 Their skin looked amazing.
00:15:07 --> 00:15:08 Right.
00:15:08 --> 00:15:32 yeah i was like you know right so with that i'm like oh yeah glossy i love it but if you look at crazy and love like that that moment where she's kind of uh the first chorus and she's just posing and stuff that is so jake nava you know i'm saying he knows how to make dark skin not look like what's that in the dark so thank you um for not being weird because some people oversaturate and i'm
00:15:35 --> 00:15:35 They did.
00:15:35 --> 00:15:37 And I think the build was good, too.
00:15:38 --> 00:15:40 Like, I like the lasers coming in for Alicia's bit.
00:15:40 --> 00:15:44 And that little moat with the power going down and the fire for the final chorus.
00:15:44 --> 00:15:45 I thought it was pretty fun.
00:15:45 --> 00:15:46 Oh, my God, yes.
00:15:46 --> 00:15:48 That part of the song is so fun, too.
00:15:48 --> 00:15:51 It really is too bad that they couldn't promote it properly.
00:15:51 --> 00:15:55 Because I'm curious if it would have done anything in the U.S. Because all these scandalists did pretty well.
00:15:55 --> 00:15:56 Yeah.
00:15:57 --> 00:15:58 What a weird case.
00:16:00 --> 00:16:02 What did you think of some of the performances?
00:16:02 --> 00:16:04 Oh, can I tell you?
00:16:05 --> 00:16:11 I don't know what the beef was with Sue Elise in some of these camera shots, but it would be a part that I would think is hers, like a chorus part.
00:16:11 --> 00:16:12 And it go right to Alicia or the drummer.
00:16:13 --> 00:16:16 There's this one performance, a Jules something.
00:16:17 --> 00:16:18 Jules, not Hootenanny.
00:16:18 --> 00:16:19 It's the Jules performance.
00:16:19 --> 00:16:20 Oh, Jules Holland.
00:16:20 --> 00:16:21 Holland, yeah.
00:16:21 --> 00:16:25 And every time I thought, oh, he's going to pan to Sue Elise, this man went to the drummer.
00:16:26 --> 00:16:27 Who was calling camera?
00:16:27 --> 00:16:27 Yeah.
00:16:28 --> 00:16:30 Look, that drummer was killing it, though.
00:16:30 --> 00:16:36 Okay, yeah, but there's a member that I think in a camera time he doesn't worry about this man on the drums.
00:16:36 --> 00:16:40 Again, I think in terms of like watching him perform and articulating the dance, that they're super simple.
00:16:41 --> 00:16:41 It feels like
00:16:42 --> 00:16:46 how when you and I get ready or when you're with your friends, you kind of like do like little dance moves.
00:16:46 --> 00:16:47 They're not too complicated.
00:16:47 --> 00:16:47 They're fun.
00:16:47 --> 00:16:52 They're like really cute, like little, uh-oh, uh-oh, in the mirror kind of vibe.
00:16:52 --> 00:16:58 And I love how like effortless it looks, even though there's a lot of head look, slap clap, you know, there's movement there.
00:16:58 --> 00:16:59 So they're not being lazy.
00:16:59 --> 00:17:02 There's turns too, which I don't know why in the heel.
00:17:03 --> 00:17:03 Oh, man.
00:17:03 --> 00:17:05 All over a lot of their dance routines.
00:17:05 --> 00:17:06 So much turning.
00:17:06 --> 00:17:07 In the heel.
00:17:07 --> 00:17:08 Yeah.
00:17:08 --> 00:17:08 Yeah.
00:17:09 --> 00:17:16 I will say I do appreciate them for singing live quite a lot during all these promo performances.
00:17:16 --> 00:17:18 Because, you know, as we know, we've been reviewing like Atomic Hit and stuff.
00:17:18 --> 00:17:21 Like a lot of people lip synced on these morning television shows.
00:17:21 --> 00:17:24 And most of what I saw from Mystique was live.
00:17:24 --> 00:17:25 So that's great.
00:17:25 --> 00:17:25 Same.
00:17:25 --> 00:17:26 Yeah, same.
00:17:26 --> 00:17:30 Not really the case for the recent reunion performances.
00:17:31 --> 00:17:32 Stop it.
00:17:35 --> 00:17:53 anyway um this is clearly a 10 i love this song like this belongs on the playlist of the best british pop music you know that's valid okay so for the album version it's probably gonna be a 9.5 only because i'm just like i feel like it's missing something and when i hear the single mix i'm like like the garage remix
00:17:55 --> 00:17:56 I like it.
00:17:56 --> 00:17:57 I like when I lean a little bit more into that.
00:17:58 --> 00:18:00 But it's, like I said, 9.5 to 10.
00:18:00 --> 00:18:02 I'm probably leaning more toward 10.
00:18:02 --> 00:18:03 But we can say 10.
00:18:03 --> 00:18:04 Cool.
00:18:04 --> 00:18:05 I mean, the hybrid one, then.
00:18:06 --> 00:18:06 Yes, the hybrid.
00:18:06 --> 00:18:07 The hybrid one's a 10?
00:18:07 --> 00:18:07 Perfect.
00:18:08 --> 00:18:08 Okay.
00:18:08 --> 00:18:10 I love their hybrid.
00:18:10 --> 00:18:10 Yeah.
00:18:10 --> 00:18:11 Nice.
00:18:12 --> 00:18:14 Up next is That Type of Girl.
00:18:14 --> 00:18:17 And it was done by Ed Case, Samantha Powell, and Alicia Dixon.
00:18:23 --> 00:18:25 I thought that we were chite.
00:18:25 --> 00:18:29 I thought we were chite too, but you know, 2027 is looking not chite at all.
00:18:30 --> 00:18:37 You know, listening to this song, Liberty X did thing in it over in 2001.
00:18:37 --> 00:18:38 And it chited at number five.
00:18:38 --> 00:18:40 So I really wonder how the song would have done.
00:18:42 --> 00:18:43 Cause this is like, it's just super saturated.
00:18:43 --> 00:18:44 Like, oh my God.
00:18:45 --> 00:18:47 It's with the sound, it's really cool.
00:18:47 --> 00:18:50 It's really sleek, but I do wonder, you know,
00:18:50 --> 00:18:53 Maybe they made the right choice, not actually releasing it.
00:18:53 --> 00:18:54 So they wouldn't be like...
00:18:55 --> 00:19:18 called copycats of anybody else um but yeah i've had this conversation with someone before like you can't play me don't play me how dare you um i think the lyrics about was it second verse like where they're on tour and they're on tv it's like you act like i'm still at that shit like i'm giving you an opportunity to be with me i'll make you realize this um which is crazy because who would cheat on beyonce but here we are um that's that's the whole that's the whole like quote who would
00:19:22 --> 00:19:22 It is what it is.
00:19:22 --> 00:19:23 Someone doesn't appreciate you.
00:19:23 --> 00:19:25 They don't appreciate you.
00:19:25 --> 00:19:25 Okay.
00:19:26 --> 00:19:27 You got the type of girl that gets messed about.
00:19:27 --> 00:19:29 And I appreciate that.
00:19:30 --> 00:19:32 Show some self-respect.
00:19:32 --> 00:19:34 And I think that's all like throughout this album.
00:19:34 --> 00:19:37 There isn't really like a little sad, heartbroken song, which I appreciate.
00:19:38 --> 00:19:41 The production is super pensive and I appreciate that.
00:19:41 --> 00:19:42 It's well thought out.
00:19:43 --> 00:19:47 Um, and then I love the synth and the empty space after Alicia's rap.
00:19:47 --> 00:19:54 So I feel like there's a lot of elements here that create the story, um, without sounding like super pathetic or super bitter.
00:19:54 --> 00:20:01 And I think it's also just because of their vocal delivery as well, but the production definitely aids in it not being like super aggressive and more just like I'm moving on from this.
00:20:02 --> 00:20:03 So I think it's pretty strong for that reason.
00:20:04 --> 00:20:06 Yeah, I think this is a strong track for sure.
00:20:06 --> 00:20:07 There's great production on it.
00:20:07 --> 00:20:11 I love the echoey piano mixed with the garage beat.
00:20:12 --> 00:20:16 And of course, you get those dramatic strings as well, which is so signature for UK Garage as well.
00:20:16 --> 00:20:20 And there's that horn flash that happens every two eight counts, I think.
00:20:20 --> 00:20:21 So that's really fun.
00:20:22 --> 00:20:24 But yeah, I think my favorite part is actually the pre-chorus.
00:20:24 --> 00:20:27 You got this kind of layered, thin, kind of breathy execution.
00:20:29 --> 00:20:35 And that with Sabrina leading it, where this song I think really fits her voice so well, actually.
00:20:35 --> 00:20:38 Because like you said, it's kind of a chill execution.
00:20:38 --> 00:20:40 You know, it's like, I'm not going to be messed with.
00:20:41 --> 00:20:42 Like, I'm not going to...
00:20:43 --> 00:20:45 I'm not going to deal with this.
00:20:45 --> 00:20:47 Yeah, that really works for Sabrina's voice.
00:20:47 --> 00:20:48 So I think this one's a highlight for sure.
00:20:49 --> 00:20:55 And I did see, they did perform this at the anniversary show and I saw a clip of it and the band killed it.
00:20:55 --> 00:20:58 Like I think they were saying that they didn't have any of the stems.
00:20:58 --> 00:21:03 So they had to rebuild all the tracks from scratch and they killed it.
00:21:03 --> 00:21:06 There was so much energy in a lot of those arrangements.
00:21:06 --> 00:21:11 So yeah, I can see why people think this is one of the best ones on this album.
00:21:12 --> 00:21:13 Yeah, the song is fun.
00:21:13 --> 00:21:14 It sucks that they couldn't get the stems.
00:21:14 --> 00:21:16 Yeah.
00:21:16 --> 00:21:18 It's, uh, whatever.
00:21:18 --> 00:21:21 But that being said, my score, I wish I had a music video.
00:21:21 --> 00:21:22 It would have been fun.
00:21:23 --> 00:21:25 But my score is an 8.5.
00:21:25 --> 00:21:26 I also have it as an 8.5.
00:21:28 --> 00:21:31 Okay, next up is Roll On.
00:21:31 --> 00:21:34 And the version on the album is the blacksmith rub.
00:21:34 --> 00:21:40 And this was done by Tyrese Jones, Robin Sykes, Kwan Q, Paul, and Jolene Bell.
00:21:40 --> 00:21:45 And this was the fifth and final single released in June 2002 from the album.
00:21:45 --> 00:21:51 But it was released as a double A-side with a cover of This Is How We Do It by Montel Jordan.
00:21:52 --> 00:22:00 And we will discuss this is how we do it in our Patreon exclusive bonus episode, where we'll also talk about the other songs from the era that didn't make the album.
00:22:00 --> 00:22:03 So come join us over there if you want to hear more of that.
00:22:04 --> 00:22:07 But this double A-side single peaked at number seven in the UK singles chart.
00:22:08 --> 00:22:13 And while the album version was produced by Blacksmith, the single remix was by Rishi Rich.
00:22:13 --> 00:22:16 And it was included on the Ali G in the house soundtrack.
00:22:28 --> 00:22:30 Okay, so this one's fun.
00:22:30 --> 00:22:30 Yeah.
00:22:31 --> 00:22:32 Let's talk about the album version first.
00:22:32 --> 00:22:33 It's funky.
00:22:33 --> 00:22:35 It feels very summery.
00:22:35 --> 00:22:45 You know, it's very, I mean, clearly with the lyrics, it gives the feel of the driving in the car with the top down, bumping your head, you know.
00:22:45 --> 00:22:46 The chorus is strong.
00:22:46 --> 00:22:47 It's catchy.
00:22:47 --> 00:22:48 It's fun to sing along to.
00:22:48 --> 00:22:50 The harmonies sound really nice and full here.
00:22:50 --> 00:22:57 But I will say the album version does feel a tad too long for me because it doesn't really go anywhere.
00:22:57 --> 00:22:58 Like, it kind of just loops.
00:22:58 --> 00:23:00 Rolls on!
00:23:00 --> 00:23:00 Yeah, exactly.
00:23:01 --> 00:23:03 And so the energy just kind of goes like this.
00:23:03 --> 00:23:08 So I understand why they needed a remix and they really remixed it.
00:23:08 --> 00:23:08 Oh my God.
00:23:09 --> 00:23:09 Yeah.
00:23:09 --> 00:23:10 Oh my God.
00:23:10 --> 00:23:11 Okay.
00:23:11 --> 00:23:12 So the remix is Rishi Rich.
00:23:13 --> 00:23:13 Rishi Rich.
00:23:14 --> 00:23:14 Sorry, y'all.
00:23:15 --> 00:23:16 That was my mouth.
00:23:17 --> 00:23:19 But yeah, it also is incorporated some Bhangra pop.
00:23:20 --> 00:23:21 So then you have like this UK
00:23:24 --> 00:23:48 garage but then something else happens at the end of this and now here we are i mean my brain is still trying to wrap around the concept of them being able to do this at such an early point in their career i think it's a testament to how connected the girls and their production team was to like the underground club scene like going to a rave you will hear a mix like this and not think twice about it you know like this is so cool
00:23:49 --> 00:23:54 But yeah, again, the Brits, y'all like the Frankenstein blueprint because the switch up is crazy.
00:23:55 --> 00:24:04 But yeah, the blacksmith Smith rub, I think of like ribs when I think of rub, but yeah, a blacksmith Smith rub is like chill and it does stay in the pocket.
00:24:04 --> 00:24:06 So for that, I appreciate it.
00:24:06 --> 00:24:09 Like, you'll never, like, you won't lose the groove.
00:24:09 --> 00:24:13 Like, if you're doing, like, a shuffle dance to this, you're never going to lose it because it won't change up on you.
00:24:13 --> 00:24:21 With the Reishi Rich, you might have to, you know, ball change yourself back into the rhythm, which I appreciate because it's not super jarring.
00:24:22 --> 00:24:23 It revs up in a nice way.
00:24:24 --> 00:24:27 And shout out to Sue Elise for finally getting a damn line in that.
00:24:28 --> 00:24:31 Yeah, but it's not even in the full, like, Rishi Rich remakes.
00:24:31 --> 00:24:35 It's only in the role on this is how we do it, like, mixed version.
00:24:35 --> 00:24:36 Mass up thing.
00:24:36 --> 00:24:36 Yeah, it's so weird.
00:24:37 --> 00:24:38 That has that transition.
00:24:38 --> 00:24:38 Yeah.
00:24:43 --> 00:24:48 It's so weird that they do that, but it's just like, you know, yay, finally, something.
00:24:49 --> 00:24:49 I know.
00:24:49 --> 00:24:56 But yes, I think that this is how we do it is a great track for them to have mixed together.
00:24:57 --> 00:24:58 Again, my girl got in line.
00:24:59 --> 00:25:00 But yeah, I feel like...
00:25:01 --> 00:25:04 The reachy reach one kind of takes it up a notch, a couple notches.
00:25:04 --> 00:25:07 Yeah, it's definitely an upgrade because it does keep the funk.
00:25:07 --> 00:25:11 But now you get that true kind of 90s lushness to it.
00:25:11 --> 00:25:12 Yeah.
00:25:12 --> 00:25:13 And melodically.
00:25:13 --> 00:25:13 Yes.
00:25:14 --> 00:25:15 Way more dynamic.
00:25:15 --> 00:25:18 Like the chorus is definitely stronger with the repeat there.
00:25:18 --> 00:25:20 And the verses are kind of giving Mariah a little bit.
00:25:20 --> 00:25:21 Oh, yeah.
00:25:21 --> 00:25:22 The head voice, though.
00:25:22 --> 00:25:22 Yeah.
00:25:23 --> 00:25:23 Uh-huh.
00:25:24 --> 00:25:25 Yeah.
00:25:25 --> 00:25:26 Exactly.
00:25:26 --> 00:25:26 Yeah.
00:25:26 --> 00:25:29 I do appreciate the switch out because it does make it a little bit more brighter.
00:25:29 --> 00:25:33 And maybe Mariah was kind of like just the brief.
00:25:33 --> 00:25:34 Go for it.
00:25:34 --> 00:25:34 See how it sounds.
00:25:35 --> 00:25:35 I'm here for it.
00:25:35 --> 00:25:36 Yeah.
00:25:36 --> 00:25:37 We love it.
00:25:37 --> 00:25:38 We love it.
00:25:38 --> 00:25:38 Yeah.
00:25:38 --> 00:25:41 And then speaking of Sue Elise, it's so interesting, right?
00:25:41 --> 00:25:43 Because first off, she seems really cool.
00:25:43 --> 00:25:45 Like from watching all these interviews and stuff.
00:25:46 --> 00:25:50 And I think I would be the Sue Elise because it also sounds like she was kind of the business minded one.
00:25:51 --> 00:25:55 You know, kind of in the back, just making sure things were happening correctly.
00:25:55 --> 00:25:56 So shout out to her.
00:25:57 --> 00:26:00 She does hold down a lot of the lows and a lot of these harmonies and stuff.
00:26:00 --> 00:26:05 And from watching the old performances, you can hear her actually in those choruses and stuff.
00:26:05 --> 00:26:07 Again, the new reunion ones, maybe not so much.
00:26:09 --> 00:26:10 But yeah, shout out to her.
00:26:10 --> 00:26:14 I'm glad she did get some lines because she has like a thicker tone.
00:26:14 --> 00:26:18 I'm surprised they didn't utilize it more because the other two have thin voices.
00:26:18 --> 00:26:18 Yeah.
00:26:19 --> 00:26:19 Yeah.
00:26:19 --> 00:26:27 And I think that's the one thing I would say that they kind of maybe missed out on because I think in some R&B here in America, they would have a...
00:26:27 --> 00:26:28 Oh, yeah.
00:26:28 --> 00:26:30 Like, I'll ever speak for a second.
00:26:30 --> 00:26:32 There's a little bit of that in the few tracks, but you're right.
00:26:32 --> 00:26:34 It's very underused overall.
00:26:34 --> 00:26:35 Yeah, like, what the heck?
00:26:35 --> 00:26:35 What the heck?
00:26:35 --> 00:26:36 Hey, hey, hey.
00:26:37 --> 00:26:42 We'll get into it a little bit later in terms of, like, the tone of voice that Sabrina has and why...
00:26:43 --> 00:27:00 they probably like focus on that a little bit more a little bit as we go through the episode because i i finally made the connections later on um but yeah um let's hop into the music video discussion because i feel like it was so quintessential like we're hot girl and lowriders and i think they filmed it in la right
00:27:01 --> 00:27:03 Yeah, that was definitely Venice Beach for sure.
00:27:03 --> 00:27:04 Yeah, it was so cute.
00:27:04 --> 00:27:12 I mean, the pink velour, like, shorts and the sweater that Sabrina was wearing, a leash is open.
00:27:13 --> 00:27:15 Sueli has got to be.
00:27:15 --> 00:27:17 And I think of one of those character tropes in a movie.
00:27:18 --> 00:27:19 She's the one who's always like,
00:27:20 --> 00:27:21 Wait, hang on.
00:27:21 --> 00:27:22 Wait, we're going to a party?
00:27:22 --> 00:27:25 But then at the end of the movie, he says like, yeah, you were actually really messed up.
00:27:25 --> 00:27:28 Like she sees everything, but she chooses to be really chill about it.
00:27:29 --> 00:27:32 Because the fact that she's looking at herself in the mirror in the music video cracks me up.
00:27:32 --> 00:27:33 Because I'm like, why is everyone doing something?
00:27:33 --> 00:27:36 And she's just like, on the ball board.
00:27:37 --> 00:27:39 But she wears the chill girl really well.
00:27:39 --> 00:27:42 And I feel like everyone kind of fit their vibe.
00:27:42 --> 00:27:47 And I love the styling for them in every video that we've discussed so far, which is like two.
00:27:47 --> 00:27:50 But I enjoy the styling.
00:27:50 --> 00:27:56 It feels like it's not overstepping or downplaying anyone's features or body types.
00:27:56 --> 00:27:57 I really appreciate it.
00:27:57 --> 00:28:02 I will say it's just really uneventful as a music video.
00:28:03 --> 00:28:05 But I do appreciate the girls being femme.
00:28:05 --> 00:28:08 I love to see my brown girls being femme, honey, and fly.
00:28:09 --> 00:28:11 But when the switch up comes, we like.
00:28:11 --> 00:28:14 Yeah, I mean, at least there is a story, quote unquote, to it.
00:28:14 --> 00:28:19 Like, you know, they're driving to the basketball court and they hang out there all night.
00:28:19 --> 00:28:21 You know, these boys.
00:28:21 --> 00:28:22 You know what?
00:28:22 --> 00:28:23 I feel like that's happened before.
00:28:23 --> 00:28:26 You kind of just chat with your friends and, like, the guys are there.
00:28:26 --> 00:28:26 But I will tell you this.
00:28:27 --> 00:28:32 I have never in my life seen a set of hot men playing pick-up b-ball at any court I've been to.
00:28:32 --> 00:28:33 Okay?
00:28:33 --> 00:28:34 Ever.
00:28:34 --> 00:28:35 Have you been advanced in Spanish speech?
00:28:37 --> 00:28:38 Yeah, but, like, when I was a kid.
00:28:40 --> 00:28:44 I will say for the transition, I did like how the lighting changed straight into a sunset.
00:28:44 --> 00:28:45 That was fun.
00:28:45 --> 00:28:46 Yeah, that was fun.
00:28:46 --> 00:28:46 And the dancing.
00:28:46 --> 00:28:47 The girls were giving.
00:28:48 --> 00:28:49 Oh, my God.
00:28:49 --> 00:28:50 Yeah, that was more for this is how we do it.
00:28:50 --> 00:28:54 But yeah, I mean, the choreography for this, it's a lot of disco grooves and stuff, which I'm not mad at.
00:28:55 --> 00:28:55 It's fun.
00:28:56 --> 00:28:58 Nothing like that stands out a ton.
00:28:58 --> 00:29:00 But again, they were singing live, though, which I'll take.
00:29:00 --> 00:29:01 Hello.
00:29:01 --> 00:29:01 Okay.
00:29:02 --> 00:29:02 All right.
00:29:02 --> 00:29:03 So what do you rate?
00:29:04 --> 00:29:05 Oh, Lord.
00:29:05 --> 00:29:06 Ooh.
00:29:06 --> 00:29:06 Okay.
00:29:06 --> 00:29:08 For the album version, I don't love it.
00:29:08 --> 00:29:09 I'll give that a 7.5.
00:29:09 --> 00:29:12 But the single version is a 10.
00:29:12 --> 00:29:13 I love this song.
00:29:13 --> 00:29:14 That's valid.
00:29:14 --> 00:29:16 For the album version, I actually give it a 7.
00:29:16 --> 00:29:17 It was okay for me.
00:29:17 --> 00:29:18 Single version.
00:29:20 --> 00:29:21 with the bonga.
00:29:21 --> 00:29:22 I can't even say it right.
00:29:22 --> 00:29:24 I will also match this go hit the 10.
00:29:24 --> 00:29:25 Yeah.
00:29:25 --> 00:29:26 So good.
00:29:26 --> 00:29:28 Up next is Be With Me.
00:29:28 --> 00:29:32 And it's done by Mushtag, Suelisse, Sabrina, and Alicia.
00:29:33 --> 00:29:35 And this is the fourth single released February 2002.
00:29:35 --> 00:29:38 And it peaked at number five in the UK singles chart.
00:29:38 --> 00:29:45 And while the album version is Mushtag's R&B version, the hit is the Bump and Flex remix.
00:29:45 --> 00:29:45 Oh.
00:29:57 --> 00:29:57 Oh, man.
00:29:58 --> 00:29:58 All right.
00:29:58 --> 00:29:59 I agree with you.
00:29:59 --> 00:30:02 When we were doing research for this, I was like, hold on.
00:30:02 --> 00:30:05 Because also, I knew the singles, you know, from Mystique.
00:30:05 --> 00:30:06 I never listened to the albums.
00:30:07 --> 00:30:11 And so the first time when Roll On came on, I was like, I don't think this is right.
00:30:11 --> 00:30:12 And then, like, be with me also.
00:30:13 --> 00:30:16 I was like, am I listening to the wrong version of the album?
00:30:16 --> 00:30:17 Like, what is this?
00:30:17 --> 00:30:19 And now I understand what they were going for now.
00:30:20 --> 00:30:23 Yeah, it's like a Christina Aguilera with the whole, like, come on over.
00:30:24 --> 00:30:25 Oh, yeah.
00:30:25 --> 00:30:25 The Spanish.
00:30:25 --> 00:30:28 Where the single remix is just a full, full reset.
00:30:28 --> 00:30:29 Yeah.
00:30:29 --> 00:30:29 Yeah, yeah.
00:30:29 --> 00:30:32 An overhaul, as Mel Nisi likes to say.
00:30:33 --> 00:30:38 But yes, the album version is kind of giving Dusty's Child kind of the first two albums a little bit.
00:30:38 --> 00:30:39 Sorry.
00:30:39 --> 00:30:41 You know, I don't mean that in a bad way.
00:30:41 --> 00:30:41 No, no, no.
00:30:41 --> 00:30:43 It's so funny because I didn't think about that.
00:30:43 --> 00:30:43 Yeah, okay.
00:30:44 --> 00:30:47 You know, kind of fits with like, yeah, like the first album.
00:30:47 --> 00:30:47 No, it's not offensive at all.
00:30:47 --> 00:30:48 I just didn't think about it.
00:30:48 --> 00:30:50 I'm like, actually, oh, shoot, he's right.
00:30:50 --> 00:30:50 Yeah.
00:30:51 --> 00:30:51 Wow.
00:30:51 --> 00:30:51 Okay.
00:30:51 --> 00:30:52 Yeah, it's cool.
00:30:52 --> 00:30:54 I like the steel pan in the production.
00:30:54 --> 00:30:55 I like the build of it.
00:30:55 --> 00:30:58 The horns don't come until kind of like the back third of the song.
00:30:59 --> 00:31:01 And I think as a bass, the song is good.
00:31:01 --> 00:31:03 Like the chorus is very catchy.
00:31:03 --> 00:31:06 Again, very fun to sing along to with kind of the staccato miss of it.
00:31:07 --> 00:31:10 Great harmonies all over this with the layering of the octaves and stuff.
00:31:10 --> 00:31:12 So the album version is cool.
00:31:12 --> 00:31:13 It's more chill, of course.
00:31:13 --> 00:31:16 And then they really sped it up for that bump and flex mix.
00:31:16 --> 00:31:16 Yeah.
00:31:17 --> 00:31:18 Oh my god, yes.
00:31:19 --> 00:31:21 See, you heard Destiny's Child.
00:31:21 --> 00:31:25 When I heard this, I heard Rough Riders' Whatcha Want, okay?
00:31:26 --> 00:31:28 Watch out, close want, can't touch.
00:31:28 --> 00:31:33 But it's the thing where it's like, if you know the melody, I mean, if you know the track, the melody follows the sampled instrument.
00:31:33 --> 00:31:36 So if it's that steel drum, yeah, it makes sense.
00:31:37 --> 00:31:45 I was like, I think they kind of use more of like a, I don't want to say Cuban, but like a salsa, like flair for both of
00:31:46 --> 00:31:48 Rough Riders song and for this one.
00:31:48 --> 00:31:51 So I think that the comparison is going to happen regardless.
00:31:51 --> 00:31:54 I don't think it was a complete copy where it was like, wow, we heard this Rough Riders track, unless...
00:31:56 --> 00:31:57 Unless, and if that's the case, that's fine.
00:31:57 --> 00:31:58 That's fine.
00:31:58 --> 00:32:01 The bump and flex version is so fun.
00:32:01 --> 00:32:02 Okay.
00:32:02 --> 00:32:03 I have another note here.
00:32:03 --> 00:32:09 It sounds like a sped up version of DJ mixes now, but it's really fun to hear those production elements change and switch up.
00:32:09 --> 00:32:17 And then the bridge with Alicia, it samples Decoy by Agent X, and it has a different, it's a legit remix.
00:32:17 --> 00:32:19 You can't like really call the songs.
00:32:19 --> 00:32:21 Like this is the song.
00:32:21 --> 00:32:22 No, this is a remix.
00:32:22 --> 00:32:24 Like this is not like a different single.
00:32:24 --> 00:32:26 This is like the Alicia feels like a feature.
00:32:28 --> 00:32:31 You know, like a different, they never really needed a rapper because they had her.
00:32:33 --> 00:32:36 But yeah, even with the production, the production itself feels like a feature as well.
00:32:36 --> 00:32:44 If they had like a DJ that was like, like Spinderella, even though she would kind of, didn't really get a chance to actually mix anything.
00:32:44 --> 00:32:46 It was Salt and Pepper and you knew that Spinderella was there.
00:32:47 --> 00:32:52 For them, it's like whoever's producing, you know it's going to be hot depending on the name that's on it, where the influence is coming from.
00:32:52 --> 00:32:53 So I loved it.
00:32:53 --> 00:32:55 And like, oh my God.
00:32:55 --> 00:32:56 Oh my goodness.
00:32:57 --> 00:32:57 Enough of the production.
00:32:58 --> 00:32:58 The lyrics are a mess.
00:32:59 --> 00:32:59 I want to say that now.
00:33:00 --> 00:33:00 They are a mess.
00:33:00 --> 00:33:02 Because what do you mean being down with OPP?
00:33:02 --> 00:33:03 Chris, are you down with OPP?
00:33:03 --> 00:33:05 You know what OPP is?
00:33:05 --> 00:33:05 No.
00:33:05 --> 00:33:06 What is that?
00:33:06 --> 00:33:12 Other people's property or other people's kitty with a P. Oh.
00:33:12 --> 00:33:13 Yeah, yeah, yeah.
00:33:13 --> 00:33:15 It's actually like, are you down with OPP?
00:33:15 --> 00:33:16 Yeah, you know me.
00:33:16 --> 00:33:17 You down with OPP?
00:33:17 --> 00:33:21 So basically, it's just like, it is literally a ragamuffin song.
00:33:21 --> 00:33:22 I'm not going to hold you.
00:33:22 --> 00:33:22 It's a mess.
00:33:23 --> 00:33:23 But we love it.
00:33:24 --> 00:33:26 I mean, they're really into this person.
00:33:27 --> 00:33:29 Yes, but like, excuse me?
00:33:29 --> 00:33:32 Apparently he has a pinstripe suit, so he's a working man.
00:33:32 --> 00:33:34 Probably like in an office.
00:33:34 --> 00:33:35 How he has a wife and kid.
00:33:35 --> 00:33:37 Ugh, tsk, tsk.
00:33:37 --> 00:33:37 I'm joking.
00:33:38 --> 00:33:45 But again, the early 90s, like, hip-hop needle threading through the 2000s UK garage sound amazing.
00:33:45 --> 00:33:48 Because the OPP mentioned, we love that, like...
00:33:48 --> 00:33:49 It's so funny.
00:33:49 --> 00:33:50 But it's bad.
00:33:51 --> 00:33:51 It's so bad.
00:33:52 --> 00:33:55 Yeah, though, the energy of the bump and flex mix is so good.
00:33:55 --> 00:33:56 Yeah.
00:33:56 --> 00:33:58 Like, this is so much fun.
00:33:58 --> 00:34:02 Like, I feel like anywhere you'd play this, like, it's hard not to dance to it, for sure.
00:34:03 --> 00:34:03 Absolutely.
00:34:03 --> 00:34:08 And then, yeah, adding Alicia, doing her thing kind of on top of it, all over it.
00:34:09 --> 00:34:31 is is perfect that is what elevated this song for sure and i love all the extra percussion in it too really really fun yeah um the music video i i kind of wish it wasn't so obviously in a studio i like that it's obviously oh really like i was like oh they were like really in the
00:34:33 --> 00:34:34 That was like the style.
00:34:34 --> 00:34:45 Like, I mean, the only, I don't know the photographer right off like the top of my head, but like in the early 2000s, there was like this really interesting sunset beach photography style.
00:34:45 --> 00:34:47 Like Aaliyah had one.
00:34:48 --> 00:34:49 Destiny's Child had one.
00:34:49 --> 00:34:52 If you look at Danny Cain's album cover, it has that like, it's not actually
00:34:52 --> 00:34:53 desert thing.
00:34:53 --> 00:34:57 Even Manal from Cat's Eye or formerly of Cat's Eye.
00:34:57 --> 00:35:03 Anyway, she recently did a photo shoot that's reminiscent of this, but it's leaning toward the brighter side of a sunset.
00:35:03 --> 00:35:06 So it's like, I like the concept of like, I'm jumping out of the pages of a magazine.
00:35:06 --> 00:35:07 I'm a fantasy.
00:35:08 --> 00:35:10 What's happening between us is a fantasy.
00:35:10 --> 00:35:12 We're not actually going to do it, right?
00:35:12 --> 00:35:16 Like, all I want to do is hold you tight and fill you inside, but we're not actually going to do it, right?
00:35:16 --> 00:35:19 So the video does that really nicely.
00:35:19 --> 00:35:20 I will say
00:35:21 --> 00:35:29 My favorite is Miss Ma'am in the Dior, the Dior hat in the denim bodysuit in that nasty club.
00:35:29 --> 00:35:30 Love the transitions on that.
00:35:30 --> 00:35:33 So I think you have those warm colors into that blue.
00:35:33 --> 00:35:42 Stylist, we don't talk a lot about style on the show, but that matters so much to how we absorb the media that we're consuming.
00:35:42 --> 00:35:43 It looks good.
00:35:43 --> 00:35:43 It feels good.
00:35:44 --> 00:35:47 And for you, you were like, I do not like the magazine jumping page studio look.
00:35:48 --> 00:35:48 Go to the beach.
00:35:49 --> 00:35:49 No.
00:35:49 --> 00:35:50 Yeah, exactly.
00:35:50 --> 00:35:51 That's valid.
00:35:51 --> 00:35:51 That's valid.
00:35:51 --> 00:35:53 Because I think I was distracted by that.
00:35:54 --> 00:35:56 You know, I was like, this is so obviously like not on the beach.
00:35:57 --> 00:35:57 The uncanny break.
00:35:57 --> 00:35:58 You know what I mean?
00:35:58 --> 00:35:59 Yeah.
00:35:59 --> 00:36:02 I did love the shot of them like reflected in a steel pan drum though.
00:36:02 --> 00:36:02 I thought that was fun.
00:36:02 --> 00:36:03 Oh yeah, that was cute.
00:36:03 --> 00:36:04 Yeah, yeah, yeah.
00:36:04 --> 00:36:06 And the choreo scenes are very clean, I will say.
00:36:07 --> 00:36:10 they are really clean with the hip rolls and the hip hits and stuff.
00:36:10 --> 00:36:15 Like they're all doing it exactly at the same kind of energy bubble, which is great.
00:36:16 --> 00:36:18 And they do the same with the performances as well.
00:36:18 --> 00:36:19 Yeah.
00:36:19 --> 00:36:20 That was really fun.
00:36:20 --> 00:36:20 Yeah.
00:36:20 --> 00:36:22 This one's the one with a lot of spinning in it.
00:36:23 --> 00:36:24 Oh, my God.
00:36:24 --> 00:36:25 Like tornadoes.
00:36:25 --> 00:36:26 Like tornadoes.
00:36:26 --> 00:36:28 I don't know why they spin so much.
00:36:28 --> 00:36:29 Why they do so much spinning.
00:36:29 --> 00:36:30 Yeah.
00:36:30 --> 00:36:31 I will say so.
00:36:31 --> 00:36:34 I did, of course, watch a bunch of clips of the anniversary show.
00:36:34 --> 00:36:34 Yeah.
00:36:34 --> 00:36:39 I think this is the one where they brought up a fan to do the rap, which was fun and they killed it, of course.
00:36:40 --> 00:36:41 You have to.
00:36:41 --> 00:36:44 But it looks like they didn't do any choreo at their reunion show.
00:36:45 --> 00:36:49 I feel like it was more like a vibe, jump, jump, jump, ta-ta-ta, you know.
00:36:49 --> 00:36:53 I mean, when they did the, was it the Capitol FM performance?
00:36:53 --> 00:36:54 Yes.
00:36:54 --> 00:36:56 It was a little bit more choreographed walking.
00:36:57 --> 00:36:57 Yes, it was.
00:36:58 --> 00:37:01 And some movement here and there, but no full, like, set of eight counts.
00:37:01 --> 00:37:03 It was like, maybe get an eight count here.
00:37:03 --> 00:37:03 Yeah.
00:37:03 --> 00:37:04 Slap the hip.
00:37:05 --> 00:37:06 Slap the hip.
00:37:06 --> 00:37:07 Now walk over here.
00:37:07 --> 00:37:08 Don't forget your step.
00:37:08 --> 00:37:09 You know, like, that's the kind of vibe.
00:37:10 --> 00:37:14 And considering what we have now learned about the ladies and probably makes the most sense.
00:37:17 --> 00:37:42 right but all to say i thought these performances were great from back yes oh i fell in love with them with each song and for me like i will say the single version if i could give it 11 i would like i feel like a lot of these singles are good for different reasons like this doesn't sound like all i want doesn't sound like one night stand even though it kind of does because it's nasty
00:37:43 --> 00:37:44 But it's okay.
00:37:44 --> 00:37:45 I like it a lot.
00:37:45 --> 00:37:49 I think the songs that are singles are singles for a reason.
00:37:49 --> 00:37:50 For sure.
00:37:50 --> 00:37:52 Yeah, the album version is just okay for me.
00:37:52 --> 00:37:53 I have that as a 7.5.
00:37:53 --> 00:37:55 But yeah, the single version, I'll give it a 9.
00:37:55 --> 00:37:57 I don't love it as much as some of the other singles, but I do enjoy it.
00:37:57 --> 00:37:58 Okay, that's valid.
00:37:58 --> 00:38:00 I think I might be giving up some high scores.
00:38:00 --> 00:38:02 And also some random, maybe some low ones.
00:38:02 --> 00:38:02 Who knows?
00:38:03 --> 00:38:03 Oh.
00:38:03 --> 00:38:04 Hmm.
00:38:04 --> 00:38:04 Hmm.
00:38:06 --> 00:38:18 So next is Why, done by DJ Face and Matt Jamblamont, Alicia Dixon of Mystique, Ron St. Louis, Mary Jane Morgan, David Brand, and Alan Glass.
00:38:18 --> 00:38:22 And of course, the version on the album is the UK Garage MC Radio Edit.
00:38:23 --> 00:38:26 And this was their debut single, originally released in September 2008.
00:38:27 --> 00:38:37 as the original R&B version, but then re-released in January 2001 with this new garage version, peaking at number eight in the UK singles chart.
00:38:38 --> 00:38:43 So this is the only Mystique song, as you mentioned earlier, with fourth member Zayna McNally's vocals.
00:38:44 --> 00:38:50 But she did reunite with the group to perform the song at the Wembley Arena reunion show a few weeks ago, which is cool.
00:38:50 --> 00:38:52 And there are two music videos, one per version.
00:39:04 --> 00:39:05 Oh, wait.
00:39:05 --> 00:39:06 Labels would have their heads spinning.
00:39:06 --> 00:39:07 That was the case now.
00:39:07 --> 00:39:11 I feel like this is more commonplace in K-pop now where it's like.
00:39:11 --> 00:39:12 Yeah.
00:39:12 --> 00:39:17 Multiple videos for like the one song is a dance version in a, in a, this costume version.
00:39:17 --> 00:39:21 And so, yeah, I mean, though, this is more like, you know, Desi's Child.
00:39:21 --> 00:39:22 No, no, no, no, no, no.
00:39:22 --> 00:39:22 Yeah.
00:39:23 --> 00:39:23 Yeah.
00:39:23 --> 00:39:24 Which I appreciate.
00:39:24 --> 00:39:26 I think music is missing this moment.
00:39:27 --> 00:39:28 Remake's your own darn song.
00:39:28 --> 00:39:28 Damn it.
00:39:28 --> 00:39:29 So.
00:39:31 --> 00:39:47 this song two different versions two different vibes slow burn lover to friend trope it's a tale as old as time as a romance lover reader lover whatever i enjoyed this song um i do think it's so interesting how dramatic it is why why
00:39:50 --> 00:40:09 like the lower harmony is so dramatic why why like it's high it sounds so dramatic and then the Latin R&B version makes it even more dramatic because when you think of Spanish guitar you think of drama and flair and like you know roses and things like that so like again it sounds like
00:40:10 --> 00:40:14 the Latin R&B version sounds like, why did it take so long for you to fall in love with me?
00:40:14 --> 00:40:15 I was so lonely.
00:40:15 --> 00:40:20 Where it's like you're like, not regretting, but you're like berating the guy for finally, like showing feelings for you.
00:40:20 --> 00:40:21 Yeah.
00:40:21 --> 00:40:26 Not like in a bad way, but it's when I was just like, wait, wait, so how did you feel when you first met me?
00:40:26 --> 00:40:27 Like, you know that.
00:40:27 --> 00:40:28 Would you love me if I was a worm?
00:40:28 --> 00:40:29 Like that kind of vibe.
00:40:30 --> 00:40:34 You still got the guy, but like, just questioning the wrong, asking the wrong questions.
00:40:34 --> 00:40:38 With the UK garage version, it feels like more triumphant.
00:40:38 --> 00:40:41 Like there's drama, yeah, because they started off slow.
00:40:41 --> 00:40:48 And then it picks up with the UK and it's like, yes, I got the guys like, oh, guys, why does it take so long for lovers to become, friends become lovers?
00:40:48 --> 00:40:50 It feels a little bit more like, yeah.
00:40:51 --> 00:40:55 I will say maybe the fourth voice, although it wasn't meant to be,
00:40:57 --> 00:40:59 would have been good to have.
00:41:00 --> 00:41:02 Not necessary, but like interesting.
00:41:02 --> 00:41:08 Because you have Sabrina, who has this very, I would say chipmunk-esque voice, right?
00:41:08 --> 00:41:10 Like that's the word I can use to describe it.
00:41:10 --> 00:41:14 We can all think of a chipmunk sound, you know, like, okay, it's high pitched, right?
00:41:14 --> 00:41:15 But she has some body to it.
00:41:15 --> 00:41:19 Alicia is even higher than hers.
00:41:19 --> 00:41:21 And it's not thin.
00:41:21 --> 00:41:23 It's still full, but it's not as thin.
00:41:24 --> 00:41:27 full and warm as Zayn is.
00:41:28 --> 00:41:35 I'm trying to get the pronunciation of her name, but it's so interesting to hear her here and there at the end or like singing some of the sub vocal parts.
00:41:35 --> 00:41:41 And also just listening to Mystique, this is literally like where Pink Panther is
00:41:43 --> 00:42:04 got her stuff like there's no way to deny I don't think she's ever denied it but it's so interesting like yeah there was Craig David and Liberty X and UK Garage was and is a thing but Mystique was and is different like I just can't all the groups that we've done I just can't fathom anyone else doing what they were doing and like Alicia coming in with this dance hall rap as the b chorus and
00:42:05 --> 00:42:06 It's not a full rap.
00:42:06 --> 00:42:09 It's like a beat chorus to skitch away for the next verse.
00:42:09 --> 00:42:10 K-pop does that now.
00:42:11 --> 00:42:12 It's so interesting.
00:42:12 --> 00:42:14 I'm like, how in the world?
00:42:14 --> 00:42:15 Ahead of your time.
00:42:16 --> 00:42:16 So interesting.
00:42:16 --> 00:42:17 Yeah.
00:42:17 --> 00:42:19 No, I will say these songs have aged.
00:42:19 --> 00:42:21 These singles have aged very well.
00:42:22 --> 00:42:22 Yeah.
00:42:22 --> 00:42:22 Yeah.
00:42:22 --> 00:42:23 It's really impressive.
00:42:23 --> 00:42:26 But they would still go off now, honestly, if you played them anywhere, I think.
00:42:26 --> 00:42:27 Yeah, it's impressive.
00:42:27 --> 00:42:27 Yeah.
00:42:28 --> 00:42:33 Yeah, I kind of love that they, so I guess Telstar Records is kind of more of an indie label, right?
00:42:33 --> 00:42:36 So I think it's good that they were happy to try it.
00:42:36 --> 00:42:39 Like they released that R&B version, didn't really do anything.
00:42:40 --> 00:42:43 These girls were already in the garage scene, you know?
00:42:43 --> 00:42:47 And it sounds like they were all kind of like, well, we're already kind of doing this.
00:42:47 --> 00:42:48 So this remix is going off.
00:42:49 --> 00:42:50 So let's just do this, which is cool.
00:42:51 --> 00:42:53 But yeah, the R&B version isn't bad.
00:42:53 --> 00:42:56 Like, I enjoy the kind of Spanish guitar situation.
00:42:56 --> 00:42:57 I like the lushness of it all.
00:42:58 --> 00:42:59 The harmonies are super strong.
00:43:00 --> 00:43:02 It's all just, yeah, like you said, very dramatic.
00:43:02 --> 00:43:06 But yeah, the Garage remakes is just so much cooler and fun.
00:43:07 --> 00:43:09 Yes, the fun is the word.
00:43:09 --> 00:43:11 And even the hook for some reason, it just sounds better faster.
00:43:11 --> 00:43:13 Like the la-la-la-la-la-la.
00:43:13 --> 00:43:13 Yeah, it's just like, why?
00:43:13 --> 00:43:15 You know, like that's just way better.
00:43:15 --> 00:43:16 Yeah, it's like, why?
00:43:16 --> 00:43:18 La-la-la-la-la-la-la-la.
00:43:18 --> 00:43:19 Like, it's like, it's like, uh...
00:43:20 --> 00:43:21 You chose me out of everyone.
00:43:21 --> 00:43:22 Like, girl, yes.
00:43:22 --> 00:43:23 Like, he wants you.
00:43:23 --> 00:43:24 Like, come on.
00:43:24 --> 00:43:25 Like, I was a worm.
00:43:25 --> 00:43:26 Stop sulking.
00:43:26 --> 00:43:27 Yeah, right.
00:43:27 --> 00:43:28 Why did it take so long for you to love me?
00:43:28 --> 00:43:30 I love you now, please.
00:43:30 --> 00:43:32 Yeah, like, stop complaining, my lord.
00:43:32 --> 00:43:33 Oh, my gosh.
00:43:33 --> 00:43:33 Just teasing.
00:43:34 --> 00:43:34 Totally teasing, guys.
00:43:34 --> 00:43:35 Yeah, yeah.
00:43:35 --> 00:43:38 We do have two music videos as well.
00:43:38 --> 00:43:38 Yes.
00:43:38 --> 00:43:41 So what do you think of the original one where they're, like, in the sewers?
00:43:42 --> 00:43:44 Listen, they were in the catacombs, honey.
00:43:44 --> 00:43:45 They were underground in the catacombs.
00:43:45 --> 00:43:46 I know, just kidding.
00:43:46 --> 00:43:47 I know, I know.
00:43:47 --> 00:43:48 It was a sewer.
00:43:48 --> 00:43:50 I looked it up and I'm like, they went to an underground sewer.
00:43:50 --> 00:43:51 I was like, why don't put them little girls in there?
00:43:53 --> 00:44:01 But I think, like, if you are, I guess you're like an alt-black girl, like you grew up watching Blade over and over again.
00:44:01 --> 00:44:03 You watched like Queen of the Dan over and over again.
00:44:03 --> 00:44:07 Like, you liked, you know, Jada Pinkett in her metal band.
00:44:07 --> 00:44:08 You know what I'm saying?
00:44:08 --> 00:44:10 Like, the whole vibe of a leather band.
00:44:11 --> 00:44:14 You know, like not just, oh, it's the Matrix aesthetic.
00:44:15 --> 00:44:17 It's like the leather, the dark, like the vampires.
00:44:18 --> 00:44:20 It's just, it reminds me of Blade, like the underground vibe.
00:44:21 --> 00:44:22 It's edgy, it's cool.
00:44:22 --> 00:44:30 And comparatively to Honey's, for this to be their first single for both videos, it's like warehousey in the garage version too.
00:44:30 --> 00:44:31 Like they're wearing the leather.
00:44:32 --> 00:44:39 They're in like this like cement kind of, it's outdoors but cement and on the inside it's like this really cold looking club.
00:44:39 --> 00:44:40 Not cool, cold looking.
00:44:41 --> 00:44:56 Where with Honeys and Eternal or even DC, they were more glamorous or like had a warmer color palette and it was like, I want you to enjoy the sepia tones and how I feel and everything is like the palette's meant to be inviting.
00:44:56 --> 00:44:58 This one's more like, you can come if you want.
00:44:59 --> 00:45:00 You can come.
00:45:02 --> 00:45:24 you know so i do appreciate like the high fashion look of them especially in that the latin the latin video is definitely better for me and then the garage version yeah i think i agree with that i actually liked the kind of shadows of the men kind of like running through the catacombs kind of through it as well i thought that was fun yeah the second music video i think it just looked really cheap i think that was the only thing maybe um
00:45:25 --> 00:45:30 Like, it's like they just randomly found an alleyway with that concrete wall, you know?
00:45:30 --> 00:45:30 Yeah.
00:45:31 --> 00:45:34 Like, the lighting isn't great in there.
00:45:34 --> 00:45:38 And then the other shot of them in front of that, like, metal wall as well.
00:45:38 --> 00:45:40 Also just, like, very odd.
00:45:40 --> 00:45:43 I think the whole thing, just the color of it all was a bit weird.
00:45:43 --> 00:45:45 The couch scenes were fine.
00:45:45 --> 00:45:46 Not great.
00:45:46 --> 00:45:47 They're like, one girl.
00:45:48 --> 00:45:53 I mean, it does make for an interesting crop out when the documentaries are filming them because they cut Zina out.
00:45:53 --> 00:45:54 They always cut her out.
00:45:54 --> 00:45:54 Oh my God.
00:45:55 --> 00:46:00 Also, the single cover too, like, she's not on the single cover on Spotify.
00:46:01 --> 00:46:02 Really?
00:46:02 --> 00:46:02 I use Apple Music.
00:46:03 --> 00:46:04 I mean, I just listen to- And she's there?
00:46:04 --> 00:46:05 No, no, not that she's there.
00:46:05 --> 00:46:06 I just listen to the album.
00:46:06 --> 00:46:09 I got the photo from like Amazon or something, but I got the photo.
00:46:09 --> 00:46:15 Yeah, no, if you try to find the single, I think they just totally cut her out, but at least they left her vocal in even on the album, you know?
00:46:15 --> 00:46:17 Bananas in pajamas.
00:46:17 --> 00:46:17 Oh, my God.
00:46:18 --> 00:46:18 Okay.
00:46:18 --> 00:46:24 And I will say the reunion performance, a lot of people said that was, like, the coolest part of the night.
00:46:24 --> 00:46:27 Because I feel like, you know, she's only there for the first single, which she's never talked about.
00:46:27 --> 00:46:28 She's cut out of all the documentaries.
00:46:29 --> 00:46:29 Yeah.
00:46:29 --> 00:46:31 And the fact that they broke her off for that is so cool.
00:46:31 --> 00:46:33 It was literally, this is what Xander said.
00:46:33 --> 00:46:35 He was like, it's the finale of Dreamgirls.
00:46:37 --> 00:46:40 Will they die?
00:46:40 --> 00:46:40 Mm-hmm.
00:46:41 --> 00:46:45 They start ripping off him at the end, and then Jimmy Foxx comes down and sees his daughter.
00:46:45 --> 00:46:47 Yeah, it's the same thing.
00:46:47 --> 00:46:54 But yes, that being said, what do you rate this Dream Girl song?
00:46:56 --> 00:47:00 Okay, so the original one, I'll give it an eight, but the single version, I'll give it a nine.
00:47:00 --> 00:47:01 Okay.
00:47:01 --> 00:47:01 Okay.
00:47:02 --> 00:47:11 I'm gonna have to match you, because I don't want to rate the Latin version too low, because it's like, I don't hate it, but it's not a 7.5, so I'll match you, like bar for bar, I'll match you.
00:47:11 --> 00:47:11 Okay.
00:47:12 --> 00:47:14 Up next is, they'll never know.
00:47:15 --> 00:47:27 And this was done by Sin, the members of Mystique, MC Harvey and Astrid D of So Solid Crew, and fun fact, So Solid were one of the biggest garage crews of that time, and Harvey would later marry Alicia.
00:47:27 --> 00:47:30 That relationship did not last, but we thought we should share that with you guys.
00:47:36 --> 00:47:55 so yeah working with your you know your good chemistry yeah chemistry i mean this is a cool track i can see how this might give them like a bit more street cred right um production's cool very minimal it is giving kind of you know you're out and the mic is just being passed around and
00:47:55 --> 00:47:56 Oh, a cypher.
00:47:56 --> 00:47:57 Yeah, like a cypher.
00:47:58 --> 00:47:58 It is doing that.
00:47:58 --> 00:47:59 It's cool.
00:47:59 --> 00:48:01 And I love Alicia rapping amongst these guys.
00:48:02 --> 00:48:02 And she's keeping up.
00:48:02 --> 00:48:04 She has a great flow here.
00:48:04 --> 00:48:09 And the melodic parts, you know, Sabrina kind of doing trills all over the whole thing.
00:48:09 --> 00:48:11 You got this kind of low chorus.
00:48:11 --> 00:48:12 I'm not mad at this.
00:48:12 --> 00:48:13 I think it's fun.
00:48:14 --> 00:48:21 Okay, so for our UK fans, forgive me when I say this, but there's like a comedian that's mentioned the sonics of UK rappers being unique.
00:48:23 --> 00:48:24 And I can kind of hear it here.
00:48:24 --> 00:48:30 Or like, if you guys don't know Unknown P, Unknown P is like a parody rapper who actually does have bars.
00:48:31 --> 00:48:32 Riding around in a Rover.
00:48:32 --> 00:48:39 Like, it's kind of like, I hear, like, a very proper accent when I hear British English accents.
00:48:39 --> 00:48:40 So, like I said, no offense.
00:48:40 --> 00:48:42 Like, I'm not trying to insult anyone.
00:48:42 --> 00:48:47 It's just, for me, it's just interesting to hear, like, these flows being delivered through something that...
00:48:47 --> 00:48:49 to my ear sounds posh, right?
00:48:50 --> 00:48:54 And granted, I do appreciate that no one's adopted an American accent.
00:48:54 --> 00:48:57 And I do respect SoSolid's impact, again.
00:48:57 --> 00:49:02 But again, my ears just hear, to whom it may concern, I hope this email finds you before I do.
00:49:02 --> 00:49:05 Like, it gives that kind of, like, polite...
00:49:06 --> 00:49:07 Sorry guys.
00:49:07 --> 00:49:07 What?
00:49:08 --> 00:49:09 For me, that's for me.
00:49:10 --> 00:49:12 I don't care for the production of the song.
00:49:12 --> 00:49:13 I think it's because of the syncopation.
00:49:14 --> 00:49:18 And I think it's okay if you listen to the song and you're like, I don't like it.
00:49:19 --> 00:49:21 The concept of the song is great.
00:49:21 --> 00:49:23 Like, hey, no one knows like the things we've been through.
00:49:23 --> 00:49:24 No one knows how hard we work to get here.
00:49:24 --> 00:49:26 Like we're a black girl group, first of all.
00:49:26 --> 00:49:28 Second of all, we have a sound that no one's doing.
00:49:29 --> 00:49:31 Third of all, we're an indie label.
00:49:31 --> 00:49:32 This is tough work.
00:49:32 --> 00:49:33 We've been doing it.
00:49:33 --> 00:49:35 We were face to face before we became Mystique.
00:49:35 --> 00:49:36 I totally get that.
00:49:36 --> 00:49:41 But I think with the signification of the drums upon first listen is disorienting.
00:49:42 --> 00:49:42 Um...
00:49:42 --> 00:49:44 And if you love it for the percussion, great.
00:49:44 --> 00:49:47 But for me, it does take a second to connect, especially after that intro.
00:49:47 --> 00:49:48 First chorus, things get better.
00:49:49 --> 00:49:51 In the chorus, the melody is okay.
00:49:51 --> 00:49:52 They don't know the things that we do.
00:49:53 --> 00:49:55 They'll never know.
00:49:55 --> 00:49:56 Like, it's okay.
00:49:56 --> 00:49:57 It just sounds like, again, like...
00:49:57 --> 00:50:21 like the cypher like a freestyle cypher or like maybe people are battle rapping which is okay but i've heard better um like even though i am a pop music fan i used to listen to hip-hop and r&b like really heavily and i wouldn't like jot that in with anything that i actually care for if you do listen to that too and you're like i love it good for you um but yeah i think it's okay my favorite lines though from alicia never once the gentleman but
00:50:22 --> 00:50:26 I personally, for me, feel like if you need other rappers to give you street cred, I get that's a system.
00:50:27 --> 00:50:30 But I'm like, eh, I didn't really care for their verses.
00:50:31 --> 00:50:31 They were okay.
00:50:31 --> 00:50:33 And I heard, listened to their other stuff.
00:50:33 --> 00:50:36 I'm like, you guys deliver better on your own than you did this track.
00:50:37 --> 00:50:38 So I don't really care for it.
00:50:38 --> 00:50:43 But for me, Alicia's lines where she's like in a royal affair, we reign from within.
00:50:43 --> 00:50:43 Great.
00:50:44 --> 00:50:45 That's like a kind of connection I love.
00:50:47 --> 00:50:54 But the journey began to work on my lyrical tone, feed your mind like a gun reload with my lyrical flow, feel like I'm going to explode like moments like that.
00:50:55 --> 00:50:57 She's not being corny.
00:50:57 --> 00:50:59 These are just words that are super connected.
00:50:59 --> 00:51:00 I loved what she was doing on that.
00:51:01 --> 00:51:04 But aside from that, I can't say that this is like my favorite.
00:51:04 --> 00:51:05 I appreciate the concept.
00:51:06 --> 00:51:12 I appreciate the whole like disjointed attempt at experimenting with the sound, but it's not my favorite on this album.
00:51:13 --> 00:51:13 Not for all.
00:51:14 --> 00:51:15 Okay, so I have it as an eight.
00:51:16 --> 00:51:16 All right, I have it as a 7.5.
00:51:18 --> 00:51:23 Next is Stamp Reject, done by the ignorance, Trell, a.k.a.
00:51:23 --> 00:51:27 Trevor Henry, Teresa Taylor, Jeanette Walker, and Gary Haas.
00:51:35 --> 00:51:42 This sounds like something that Say Now or XO or maybe like post-therapy at the club flow could do, like as tongue-in-cheek, especially Say Now.
00:51:42 --> 00:51:44 I mean, Say Now has Supermarket as a song.
00:51:45 --> 00:51:52 But having that little cheesy kind of intro, not cheesy, but like this skit for an intro.
00:51:53 --> 00:51:54 That's also very 90s.
00:51:54 --> 00:51:59 If you listen to Invoke's Funky Divas, they have a lot of interludes that are skits.
00:51:59 --> 00:52:02 TLC, the skits, it's just fine.
00:52:02 --> 00:52:04 This one is just very much like...
00:52:04 --> 00:52:29 here's a gag for the skit um so i can see say now maybe exo exo leans a little bit longer younger in terms of girl group like sound and then maybe therapy at the club like post therapy at the club flow could do like a tongue-in-cheek like stamp reject on this loser and get stepping changing the arrangement like majorly for each of the group but in terms of the title of the song it's perfect for a girl group like stamp reject what is that stamp reject
00:52:29 --> 00:52:30 And then you listen to it.
00:52:30 --> 00:52:33 It's like, oh, this is bad beef.
00:52:33 --> 00:52:33 Bye.
00:52:34 --> 00:52:35 Okay, bye.
00:52:36 --> 00:52:37 I do enjoy that.
00:52:37 --> 00:52:39 The line distribution on this one's a little meh.
00:52:40 --> 00:52:43 It would have been kind of fun if it was more conversational, I think.
00:52:43 --> 00:52:45 Because it's like the girls are saying, the guy sucks.
00:52:45 --> 00:52:47 I can't rid of him, girl.
00:52:47 --> 00:52:48 You know?
00:52:48 --> 00:52:51 But I think every girl group needs a, you know, you can do better than him track.
00:52:52 --> 00:52:53 Yeah.
00:52:53 --> 00:52:54 It's fun.
00:52:54 --> 00:52:55 And I think sonically,
00:52:56 --> 00:52:58 I'm going to mention it now and probably a little bit later.
00:52:58 --> 00:53:00 This one's similar to 702 for me.
00:53:00 --> 00:53:03 Like Mila is another chipmunk vocal tone.
00:53:03 --> 00:53:04 I'm not saying chipmunk is bad.
00:53:05 --> 00:53:05 I love the movies.
00:53:06 --> 00:53:09 But that high-pitched, like, nasal delivery.
00:53:10 --> 00:53:14 The chorus into the bridge rap and instrumental switch-up is probably the most fun that you'll get on the track.
00:53:15 --> 00:53:17 But it is okay-ish.
00:53:18 --> 00:53:21 But, yeah, again, toward the end is where it gets more interesting.
00:53:22 --> 00:53:26 Yeah, I find the rap quite interesting because I believe that's Sabrina, right?
00:53:26 --> 00:53:26 Yeah.
00:53:26 --> 00:53:29 And so it's interesting to have her doing it.
00:53:29 --> 00:53:36 I mean, she sounds good, but I think this is one of those situations where I kind of needed an Alicia moment.
00:53:36 --> 00:53:39 Or maybe just her kind of doing her thing as kind of ad libs on top.
00:53:39 --> 00:53:40 I don't know.
00:53:40 --> 00:53:43 I feel like it was missing that extra oomph that Alicia does give here.
00:53:43 --> 00:53:44 Yeah.
00:53:45 --> 00:53:47 But yeah, I think the production itself has a lot of energy in it.
00:53:47 --> 00:53:50 Like, it's super bass-heavy, which is cool.
00:53:50 --> 00:53:56 And I think the vocal production on the chorus is fun, with, like, that extended backy vocal.
00:53:56 --> 00:53:58 Kind of happening in the back with the different octaves.
00:53:59 --> 00:54:00 But yeah, I'm going to be honest.
00:54:00 --> 00:54:04 This is not one that I think about much, like, melodically.
00:54:05 --> 00:54:07 It just doesn't do that much for me.
00:54:07 --> 00:54:14 I think the track, like the production on the track is actually cooler than the melodic some parts, unfortunately.
00:54:14 --> 00:54:15 Yeah.
00:54:15 --> 00:54:15 Yeah.
00:54:16 --> 00:54:16 Oof.
00:54:17 --> 00:54:20 I'm trying to think, well, I want to listen to this over, they'll never know.
00:54:22 --> 00:54:26 I think maybe because I just don't care for the chorus, the melody of the chorus.
00:54:26 --> 00:54:27 So yeah, I mean, this one's okay too.
00:54:27 --> 00:54:28 I'll give it the same score.
00:54:28 --> 00:54:29 7.5 is not like...
00:54:30 --> 00:54:31 Okay.
00:54:31 --> 00:54:31 Yeah.
00:54:32 --> 00:54:33 Yeah, I have this as a 7.5 as well.
00:54:35 --> 00:54:38 All right, guys, if you're enjoying the episode so far, you can follow us everywhere at CCTV Pops.
00:54:39 --> 00:54:43 We do music reviews and iconic interviews, such as Mel C of the Spice Girls.
00:54:43 --> 00:54:44 That's right, Melanisi was on our show.
00:54:45 --> 00:54:48 So was Estelle and some K-pop artists like Min from Miss A.
00:54:48 --> 00:54:55 So we not only do music reviews, but we do a lot of fun things with our CCTV crew on Patreon.com.
00:54:55 --> 00:55:03 So if you want to join us for exclusive live sessions and the ability to help us pick future episode topics, join us at Patreon.com slash CCTV Pops.
00:55:05 --> 00:55:07 Up next is All I Want.
00:55:07 --> 00:55:12 This is by Sabrina and Alicia, Alan Glass, David Brandt, Marianne Morgan.
00:55:12 --> 00:55:21 The original version, the R&B version, was produced by David Brandt, but the ultimate garage version was produced by Sari Sonship Evans.
00:55:21 --> 00:55:26 And this was released in October 2001 as the second single that peaked at number two.
00:55:26 --> 00:55:31 Side note, when I hear Sonship on any kind of plug that Alicia does, I hear Sonship.
00:55:32 --> 00:55:34 So if I call him Sonship, I apologize.
00:55:34 --> 00:55:39 It is funny because she goes, and I'm like, girl, you need to articulate this.
00:55:46 --> 00:55:50 This is a great progression from Y for the second single, for sure.
00:55:50 --> 00:55:51 The production is so good.
00:55:52 --> 00:55:55 I did a lot of research, so fans, please let me know if I'm wrong.
00:55:55 --> 00:56:01 But the actual original R&B version of All I Want was never actually released.
00:56:01 --> 00:56:05 There is an R&B version that ended up on the single, but that was just a remix.
00:56:06 --> 00:56:09 Like for the package, it wasn't like the original one.
00:56:09 --> 00:56:13 So I think for this one, there really is just this garage version.
00:56:15 --> 00:56:17 Yeah, this is a cool one.
00:56:17 --> 00:56:19 Like, it feels squeaky, that production.
00:56:19 --> 00:56:20 And I mean that in a good way.
00:56:20 --> 00:56:23 Like, I don't know why that word comes to mind, but it's balanced well.
00:56:23 --> 00:56:26 There's like a super heavy bass and then these really kind of high sounds.
00:56:26 --> 00:56:28 So it's an interesting track.
00:56:28 --> 00:56:31 The pre-chorus with that vocal effect all over Sabrina's runs.
00:56:31 --> 00:56:35 And then Alicia being that kind of transitional piece into the chorus.
00:56:36 --> 00:56:36 That's really fun.
00:56:36 --> 00:56:37 That's super fun.
00:56:37 --> 00:56:39 And there's just so much momentum to the chorus.
00:56:40 --> 00:56:41 All I want.
00:56:42 --> 00:56:43 is it's just really, really fun.
00:56:43 --> 00:56:50 And like Be With Me, it's one of those where when it comes on, it's kind of hard not to move a little bit, you know?
00:56:51 --> 00:56:58 I like that Alicia's part is a bit more subtle on this one because it's kind of just used as little moments and little transitional moments.
00:56:58 --> 00:57:00 But again, it keeps you interested.
00:57:00 --> 00:57:03 Like every time she comes on, it does perk your ears a little bit.
00:57:04 --> 00:57:08 And I think that is the aspect that they really could have used through...
00:57:08 --> 00:57:11 more of the music, honestly, like throughout this album.
00:57:11 --> 00:57:14 You don't have to give her a full rap verse every time.
00:57:14 --> 00:57:16 She can just do stuff like this, you know?
00:57:16 --> 00:57:18 So yeah, I can see why this is a signature hit.
00:57:18 --> 00:57:19 It's really fun.
00:57:19 --> 00:57:21 I think I heard this one in the movie when I was a kid.
00:57:21 --> 00:57:22 I can't remember which one.
00:57:22 --> 00:57:23 I feel so bad.
00:57:23 --> 00:57:25 I should have done a little bit more free search on which movie.
00:57:25 --> 00:57:29 But I think this is one of the songs that actually got sprinkled in someone's film.
00:57:30 --> 00:57:32 Like a teen romance, if anything.
00:57:33 --> 00:57:33 Okay.
00:57:33 --> 00:57:34 Can't pinpoint it.
00:57:34 --> 00:57:45 But I do know this song, I think maybe because of the connection I have with that, I automatically connected to the salsa weird steel drum version.
00:57:46 --> 00:57:47 Okay, hear me out, right?
00:57:47 --> 00:57:47 Okay.
00:57:48 --> 00:57:50 The single version is a single version for a reason.
00:57:50 --> 00:57:55 But my point is, I just remember the brightness of the music sounding like a beach.
00:57:56 --> 00:57:59 sounding like just brightness.
00:57:59 --> 00:58:03 And even with the single cover, the pink is super cute, super girly, super femme.
00:58:04 --> 00:58:06 And I somehow remember the music video.
00:58:06 --> 00:58:13 So maybe I think Mystique has come into my periphery over the years, which is never new.
00:58:13 --> 00:58:16 But yeah, I love the lyrics.
00:58:16 --> 00:58:23 We've covered so many mystical characters, Lewis Carroll, Greek mythology, and Aladdin, The Looking Glass, Midas Touch, Magic Carpet Rides.
00:58:26 --> 00:58:30 well written and I love the analogies in the song.
00:58:31 --> 00:58:34 It's like, is the perfect relationship of fantasy or legend or is it?
00:58:35 --> 00:58:38 And I think the progression is good throughout the song because you're trying to figure it out.
00:58:38 --> 00:58:41 It's like, I don't want to settle down right now.
00:58:41 --> 00:58:44 Cause I don't want to get distracted, but I really do like, I do want to be with you.
00:58:44 --> 00:58:47 Then eventually it's like, well, if I snap my fingers, maybe it's not that hard.
00:58:47 --> 00:58:50 And then finally at the end, it's like, we can make this work.
00:58:50 --> 00:58:52 It's not like the whole time.
00:58:52 --> 00:58:53 Yeah.
00:58:54 --> 00:59:15 this is i'm avoiding you so i do appreciate that balance of being like i'm still super independent and having a really good time of my life but i think about you a lot um and i think it's so interesting like we have highlighted some performances like the disney performance and i think it's interesting because i'm like the magic carpet ride in alice wonderland mentioned made this okay for you guys to do with the kids um but go on
00:59:18 --> 00:59:20 But yeah, I think this is like one of my little favorites.
00:59:20 --> 00:59:21 Because like a little fake salsa moment happens.
00:59:22 --> 00:59:26 Anytime they perform it, when they perform it at Buckingham Palace, it was just like really cute.
00:59:26 --> 00:59:26 It was fun.
00:59:27 --> 00:59:31 It was just the dresses, the heels, the salsa moving.
00:59:31 --> 00:59:32 There's so much to do with this song.
00:59:32 --> 00:59:34 And there's so much to like really enjoy.
00:59:34 --> 00:59:39 And I feel like this was one of the videos where I think maybe, are you okay with the studio setup?
00:59:41 --> 00:59:42 Yeah, this one was fun.
00:59:42 --> 00:59:50 This one felt like so classic 2000s, especially with that random intro and outro of Sue Elise being absorbed into the mirror.
00:59:51 --> 01:00:11 super weird nothing to do with anything um she and then yeah them being in this just like random set you know that a lot of these pop groups you know they all kind of have variations of this so this one felt right because i think my issue with the other one is like they're clearly supposed to kind of like they're outside but they're not but this one's like oh we're in a studio you know what i mean
01:00:12 --> 01:00:14 They're not trying to pretend anything.
01:00:15 --> 01:00:16 It's the mystical land.
01:00:16 --> 01:00:17 You're the looking glass.
01:00:17 --> 01:00:19 And you know, you fall too deep.
01:00:20 --> 01:00:22 Not even on the melody.
01:00:23 --> 01:00:24 But yeah, I think that was the point.
01:00:24 --> 01:00:26 Maybe that's why the mirror happened.
01:00:27 --> 01:00:28 Fine, fine.
01:00:28 --> 01:00:31 But yeah, the choreo is fun with all the shimmying in there.
01:00:33 --> 01:00:35 Again, there's just so much energy in this track.
01:00:35 --> 01:00:36 So it just makes it fun.
01:00:36 --> 01:00:37 They don't even have to do that much.
01:00:38 --> 01:00:41 They kind of do end up doing quite a lot in some of these performances.
01:00:41 --> 01:00:43 But the track is just so good, you know?
01:00:43 --> 01:00:46 Yeah, it requires a lot of energy and they definitely give it.
01:00:46 --> 01:00:51 So I like this one, but I think I like a little bit more of the grittier stuff.
01:00:51 --> 01:00:52 So this is a 9.5 for me.
01:00:52 --> 01:00:53 I don't hate it, obviously.
01:00:53 --> 01:00:54 It's just I like the other ones.
01:00:54 --> 01:00:54 Yeah.
01:00:55 --> 01:00:56 Yes, I have this as a nine.
01:00:57 --> 01:01:06 Next is Nasty, done by Martin Michael Larson, Lards Helvor Jensen, and Sabrina Annalisha of Mystique.
01:01:06 --> 01:01:15 And fun fact, Larson and Jensen would later on become huge K-pop writers doing songs like Girls' Generation's Hoot and Shiny's Hello.
01:01:15 --> 01:01:15 Hello.
01:01:21 --> 01:01:24 Not y'all going from Be With Me to, you know, an OPP to calling the girl nasty.
01:01:25 --> 01:01:26 I'm in tears.
01:01:27 --> 01:01:29 I do appreciate the skit in the beginning of it, of course.
01:01:29 --> 01:01:30 Like, I know about a girl.
01:01:31 --> 01:01:36 Granted, I don't know why they adopted an American accent throughout this song, but go off.
01:01:37 --> 01:01:38 It was probably the demo.
01:01:38 --> 01:01:39 They probably were copying the demo, right?
01:01:40 --> 01:01:40 Maybe.
01:01:40 --> 01:01:41 Yeah.
01:01:41 --> 01:01:43 And if that's the case, these Swedish men should not be...
01:01:44 --> 01:01:48 Like, you know, whatever European mention I talk about some girl.
01:01:49 --> 01:01:50 No, no girlfriend.
01:01:50 --> 01:01:52 No, absolutely not.
01:01:52 --> 01:01:58 But yeah, I think for this one, every girl group seems to have a song about some nasty girl.
01:01:58 --> 01:01:59 I love it.
01:01:59 --> 01:02:00 We need a playlist.
01:02:00 --> 01:02:02 We need a playlist of songs like this.
01:02:03 --> 01:02:05 I miss it when we could be this petty in lyrics.
01:02:05 --> 01:02:09 Yeah, I think I'm all for calling people out on a track.
01:02:09 --> 01:02:10 Do it.
01:02:10 --> 01:02:11 Do it.
01:02:11 --> 01:02:13 But also, don't be the pot calling the kettle black.
01:02:13 --> 01:02:15 You know what I'm saying?
01:02:15 --> 01:02:16 If you're going to be nasty, be nasty and single.
01:02:16 --> 01:02:19 Don't be taking somebody's person, you know?
01:02:19 --> 01:02:19 That's true.
01:02:19 --> 01:02:20 They're a little mean.
01:02:20 --> 01:02:21 They're a little mean in this one.
01:02:22 --> 01:02:25 They were I'm saying it wasn't even just like I mean Destiny's Child was really nasty.
01:02:26 --> 01:02:33 But we have evolved right like Cat's Eye has like to all the God bless the mean girls and all that you know like now it's like we've evolved to like yes even you.
01:02:36 --> 01:02:38 Even you can be safe from your nastiness.
01:02:40 --> 01:02:44 So I feel like this song is um it's not bad right but I also feel like it's something
01:02:45 --> 01:02:48 kind of weird and cheesy about it.
01:02:51 --> 01:02:55 Like, if En Vogue would have done this song, they would have had the conversation over it, right?
01:02:55 --> 01:02:59 It would have been like the, I mean, if you're lucky, you're losing, and I'm out of doubt.
01:02:59 --> 01:03:01 We all heard them speak on a track.
01:03:01 --> 01:03:04 We've heard TLC at the end of What About Your Friends in a music video.
01:03:04 --> 01:03:05 We've heard it.
01:03:05 --> 01:03:07 For this one, it just feels like
01:03:08 --> 01:03:12 kind of kitsch, but like not good enough to be like, oh wow, this is amazing for me.
01:03:12 --> 01:03:17 Production wise, it's interesting how funky it is and it's groovy, but.
01:03:18 --> 01:03:41 lyrically meh okay melodically okay it's all terrible um then you nasty girl you nasty that's a familiar like cadence that i've heard in a lot of like um like black american pop and black american r&b so it's like i'm used to hearing it so yeah it's catchy but i can't say in terms of like this should be a song i need to perform at a concert i can't say that if you like this song
01:03:43 --> 01:03:43 I do wonder why.
01:03:43 --> 01:03:47 Not you, one of our listeners.
01:03:48 --> 01:03:50 Yeah, I don't think the song is bad.
01:03:51 --> 01:03:54 Like I said, I do kind of think the petty lyrics are pretty funny.
01:03:55 --> 01:03:58 And yeah, I kind of like the funkiness of the production.
01:03:58 --> 01:04:02 The melody, it's interesting because I actually don't mind the melody of it.
01:04:02 --> 01:04:06 I just wonder if they kind of use the same vibe that just had different lyrics, but I like it.
01:04:06 --> 01:04:32 more because she's a nasty girl that didn't i don't mind that like as a melody you know what i mean and then this one does have alicia kind of doing her thing all across it right yeah which is kind of what i was saying before like it does elevate the song to have her all over it um and there are hooks in here um so i think if i don't think too much about the lyrics and i'm just kind of listening through this album this is one that i at least remember more than some of the others
01:04:33 --> 01:04:35 I remember it, but not for a good reason.
01:04:35 --> 01:04:39 So for me, this might be one of the lower ones.
01:04:39 --> 01:04:40 Okay, yeah, I don't actually mind this.
01:04:40 --> 01:04:46 I think it stands out more to me, especially as we're kind of getting to the latter half of this album.
01:04:46 --> 01:04:47 So I have it as an 8.5, actually.
01:04:49 --> 01:04:49 All right, guys.
01:04:50 --> 01:04:53 Up next is These Days, Not by Bardot.
01:04:55 --> 01:05:00 And this was done by Ron St. Louis, David Brandt, and Alan Glass.
01:05:00 --> 01:05:00 And Stargate.
01:05:01 --> 01:05:10 And fun fact, this is actually a cover of a fellow girl group, Precious, whose lineup included Jenny Frost, who would eventually join Atomic Kitten.
01:05:10 --> 01:05:15 And we have done a review for Atomic Kitten on our channel, so be sure to check that out.
01:05:16 --> 01:05:19 Yes, and Precious would actually be a really fun episode.
01:05:19 --> 01:05:21 So let us know if you want us to review their album.
01:05:21 --> 01:05:21 Oh, really?
01:05:21 --> 01:05:23 I don't know anything about them except Jenny.
01:05:24 --> 01:05:28 Yeah, I mean, you know, they were Eurovision entry.
01:05:28 --> 01:05:31 They attempted a few singles.
01:05:31 --> 01:05:33 And yeah, Jenny then got into a kid.
01:05:33 --> 01:05:37 Was one of the Honey's girls, not in this group, she was in a different group.
01:05:38 --> 01:05:39 That kind of didn't work out.
01:05:39 --> 01:05:39 Yeah.
01:05:40 --> 01:05:41 Okay, okay.
01:05:43 --> 01:05:45 I'm walking nowhere
01:05:46 --> 01:05:52 Yeah, and then even just listening to the Precious One, I believe that's Jenny opening that very first verse, which is fun.
01:05:52 --> 01:05:55 But anyway, enough about Precious for now.
01:05:55 --> 01:06:00 I will say, though, Mystique didn't actually change much from the Precious One.
01:06:00 --> 01:06:01 No.
01:06:01 --> 01:06:06 Like, the way they produced the vocals, they literally probably just kept the exact same effects across the whole thing.
01:06:06 --> 01:06:14 They have, like, a ton of layering, which I find quite unnecessary, especially for kind of a more mid-tempo track like this.
01:06:14 --> 01:06:14 Yeah.
01:06:16 --> 01:06:18 Like, it feels overproduced, the vocals.
01:06:19 --> 01:06:20 Like, there's, like, too much going on.
01:06:20 --> 01:06:22 There's, like, random effects that don't need to be there.
01:06:22 --> 01:06:23 That's funny.
01:06:23 --> 01:06:27 You know, especially, like, it's like a more organic guitar-led pop mid-tempo track.
01:06:27 --> 01:06:29 Like, you don't need to do this much.
01:06:29 --> 01:06:32 But, yeah, this one's a bit of an odd one.
01:06:32 --> 01:06:35 This does feel like A&R was just...
01:06:36 --> 01:06:40 They couldn't really, they didn't really know what to do for the remaining album tracks.
01:06:40 --> 01:06:42 And they were just like, well, let's put a slower one on here.
01:06:42 --> 01:06:44 Let's do something more bubblegum, a little safer.
01:06:45 --> 01:06:48 And, you know, Precious, their album didn't do too well.
01:06:48 --> 01:06:53 So, you know, it's the same kind of songwriters and producers that they had.
01:06:53 --> 01:06:55 So those guys were probably just like, do this one.
01:06:55 --> 01:06:56 Yeah.
01:06:57 --> 01:06:57 You know?
01:06:57 --> 01:06:58 Yeah.
01:06:58 --> 01:06:59 Yeah, nothing special about this one for me.
01:07:00 --> 01:07:05 Yeah, I mean, this is the track that creates that obvious schism between the R&B garage sounds and then the pop tracks.
01:07:06 --> 01:07:12 The wind does get knocked out of the sails a little bit because this is the least successful experimentation.
01:07:13 --> 01:07:18 If you want to even call it an experiment, it might be the hypothesis, like the question before you even get started.
01:07:18 --> 01:07:18 Right.
01:07:18 --> 01:07:22 It's somewhere in the scientific method that's not actually making an attempt to be different.
01:07:23 --> 01:07:25 But yeah, it's a little milquetoast.
01:07:25 --> 01:07:27 But again, this is...
01:07:28 --> 01:07:31 This is not completely terrible.
01:07:32 --> 01:07:41 I think I remember this one the most because the harmony stacks remind me of TLC where you're letting the low lead the melody and then the harmonies are building around it.
01:07:41 --> 01:07:46 So you have a higher melodies that keep it buoyant where you like think about Chili harmonizing with T-boss.
01:07:46 --> 01:07:49 T-boss is the melody singing on the melody most of the time.
01:07:49 --> 01:07:51 And then you have Chili's vocals on the top.
01:07:51 --> 01:07:52 So you have that here.
01:07:53 --> 01:07:56 And like, wow, Su-Li's gonna be heard unless that's Sabrina singing lower.
01:07:56 --> 01:08:02 I cannot tell because we could never see this girl's mouth moving when she's singing because they want to pan to a random drummer.
01:08:03 --> 01:08:10 But as I mentioned, I'm not gonna let it go because I was watching that performance and I'm like, please show my girl because I really like her.
01:08:10 --> 01:08:11 I like her a lot.
01:08:12 --> 01:08:12 I don't know why.
01:08:12 --> 01:08:14 Something about her just feels so like...
01:08:14 --> 01:08:29 welcoming um but yeah this is the most simplistic track i'd say on this album let the girls sound good and i think because it was meant to be more r&b-esque that's why there are vocal filters on it because like that was the way to make it sound like
01:08:30 --> 01:08:54 warm and fuller because there's definitely doubles there's doubles on here and then some vocal effects but i think the doubling is just kind of like oh let's just do it to add some more body you don't like to do it but otherwise you're just going to actually copy and paste it what can we do to make it different i guess you guys could have faith remixed it i don't know but again yeah where's the garage remix of this yeah no i think
01:08:54 --> 01:09:00 I think I'm not sure, but I saw an interview with the girls were like, we were like recording while we were releasing singles.
01:09:00 --> 01:09:02 So I think maybe this might have been one of those.
01:09:02 --> 01:09:03 You need one more track.
01:09:03 --> 01:09:04 Do we?
01:09:04 --> 01:09:04 We do.
01:09:04 --> 01:09:08 Like this might be the last track on someone's freaking album.
01:09:08 --> 01:09:12 Maybe not on Precious' album, but like this gives me one of those like.
01:09:13 --> 01:09:16 Why does a ballad have to be the last song track and it's not good?
01:09:16 --> 01:09:17 And you're like, sometimes it works.
01:09:17 --> 01:09:20 I'm like, this is one of those songs that don't, this is one of those songs that don't work.
01:09:20 --> 01:09:21 So.
01:09:22 --> 01:09:23 Not my favorite.
01:09:23 --> 01:09:23 It's okay.
01:09:24 --> 01:09:25 Vocally speaking, it reminds me of TLC.
01:09:26 --> 01:09:27 It's okay.
01:09:28 --> 01:09:29 Seven, seven.
01:09:30 --> 01:09:32 Yeah, I have this as a seven as well.
01:09:33 --> 01:09:33 Yeah.
01:09:34 --> 01:09:39 Okay, next is Better Better, done by Ron St. Louis, Mary Ann Morgan, and Michael Graves.
01:09:43 --> 01:09:46 This one, Sonically, is interesting.
01:09:47 --> 01:09:49 It has the trauma of the 2000s.
01:09:50 --> 01:09:50 Yes.
01:09:50 --> 01:09:50 For sure.
01:09:50 --> 01:09:52 And you get the steel pan back here.
01:09:52 --> 01:09:54 You get another dramatic string intro.
01:09:54 --> 01:09:55 I think the track is cool.
01:09:55 --> 01:09:57 Like, there's a ton of energy in it again.
01:09:58 --> 01:09:58 Uh-huh.
01:09:58 --> 01:09:58 Yeah.
01:09:59 --> 01:10:01 I think for this one, it makes me think of Lion King.
01:10:01 --> 01:10:05 If you know the Lion King, Semba's pride, he lives in you.
01:10:05 --> 01:10:09 There's like a marimba sound that comes in.
01:10:09 --> 01:10:11 I was sitting here like, why is it sound like the Lion King?
01:10:11 --> 01:10:12 My friend was like, what do you mean?
01:10:13 --> 01:10:15 And I was like, I was trying to figure out what song it was.
01:10:15 --> 01:10:20 I'm like, it's not All Night Long by Lionel Richie, but it was actually the Lion King.
01:10:20 --> 01:10:22 The marimba, or maybe it's an African percussion.
01:10:22 --> 01:10:23 It's called the udu drum.
01:10:23 --> 01:10:24 I could be completely wrong.
01:10:24 --> 01:10:29 But the point is, it sounds like a little glockenspiel marimba instrument.
01:10:29 --> 01:10:30 But I do like the percussion.
01:10:31 --> 01:10:31 Okay.
01:10:32 --> 01:10:33 It's just really funny to me.
01:10:33 --> 01:10:36 I was like, do I like it because it sounds like the Lion King or is it because it's good?
01:10:37 --> 01:10:38 But I think it's just fun.
01:10:38 --> 01:10:42 I think the sense of urgency on this one is really juicy.
01:10:42 --> 01:10:44 And then the harmonies are really slick.
01:10:44 --> 01:10:47 The strings are like playful.
01:10:47 --> 01:10:50 The juice is running loose from forbidden fruit.
01:10:50 --> 01:10:50 It's always better.
01:10:51 --> 01:10:52 Like, ha, come on.
01:10:52 --> 01:10:53 And they keep asking.
01:10:53 --> 01:10:55 It's like, I'm trying to make you feel better, but are you going to also do it for me?
01:10:55 --> 01:11:00 So I'm also very much here for the mutually satisfactory exchange.
01:11:01 --> 01:11:02 Get yours, y'all.
01:11:02 --> 01:11:03 Get yours.
01:11:03 --> 01:11:04 I like it a lot.
01:11:05 --> 01:11:06 Yeah.
01:11:06 --> 01:11:07 No, I think this chorus is cool.
01:11:07 --> 01:11:08 I like the hook.
01:11:08 --> 01:11:10 You know, I think there's a drama to it.
01:11:10 --> 01:11:13 There's a great three part harmony throughout the whole song as well, actually.
01:11:13 --> 01:11:25 I will say I do think we did get an Alicia out for that third verse, because I think by the time the song kind of gets that kind of latter third or so, I'm kind of like, OK, time to just kind of elevate a little bit.
01:11:25 --> 01:11:28 But overall, I do think this is strong, has a bit of a darker tone.
01:11:29 --> 01:11:37 vibe to it compared to the rest of the album so i think this one is one of the better of the album tracks on here especially coming out of the last song
01:11:38 --> 01:12:01 so yeah i have this as an eight i'll match your score it's not nice my favorite but the next one might be i'm totally joking it's not my favorite absolute favorite but it's actually very funny and it's secrets of the night it's done by the members of mystique michael sorry martin michael larson and lars halvard jensen and our listener aaron says this is a banger
01:12:08 --> 01:12:18 So now this song, if you're new here, I have a Halloween playlist that does not exist, but it might need to become a real thing because it's like the umpteenth time within like several months I've said it.
01:12:18 --> 01:12:20 So it's Come Inside by Mel B.
01:12:21 --> 01:12:22 If My Heart Was a House by Jade.
01:12:23 --> 01:12:26 And there's more, of course, but this is literally so girly pop dangerous.
01:12:26 --> 01:12:28 Ah, give me Drop Dead Gorgeous.
01:12:29 --> 01:12:31 So why have them look like vampires?
01:12:32 --> 01:12:34 But this makes them sound like vampire.
01:12:34 --> 01:12:36 I mean, it literally says vampire right at the start.
01:12:37 --> 01:12:40 That's what makes it so funny because I'm just like, wow, you really were just like, let's go for it.
01:12:41 --> 01:12:45 If they're sucking the guy's dry in more ways than one and I'm here for it, you enjoy that.
01:12:46 --> 01:12:46 Okay.
01:12:47 --> 01:12:52 If I ever see if I ever see blood running through your veins, you're never going to leave to see another day.
01:12:52 --> 01:12:52 Sorry.
01:12:53 --> 01:12:53 Like what?
01:12:53 --> 01:12:55 You're threatening to like unalive someone.
01:12:55 --> 01:12:56 Excuse me.
01:12:56 --> 01:13:25 so the song kind of doesn't it doesn't even it doesn't even feel like oh yeah it's kind of hot and smexy it's like i'm gonna kill you tonight i don't know yeah it's just so funny to me because i'm like oh you guys were not using any innuendo no metaphor it's just very literal so i think that's why i keep laughing i'm sorry if you're listening to this and being annoyed i'm not sorry for being happy but i do apologize for not articulating well um but yeah the whole if i ever see blood like the blood running through your veins like they want that um the streets ain't safe y'all
01:13:26 --> 01:13:33 And I will say the one thing that kind of it reminds me of is like a DECOM musical track.
01:13:33 --> 01:13:36 Like think if you've ever seen the Cheetah Girls.
01:13:38 --> 01:14:02 the gina girls especially um like if zombies or descendants was made in 2000s this would have been covered for sure like i like the zombie movies and the descendant movies and i feel like now it's a little more true like hip-hop rapping but it hadn't been released in the early 2000s they totally would have reheated these nachos and served them to us as like kids like oh my god this sounds amazing would have changed a lot of the lyrics around but in terms of it being like just
01:14:04 --> 01:14:27 pop goodness wow you think it's that funny that's amazing because it's it's homicidal and they put it on you know it's not there's no like oh i'm just gonna take you to bed and you're never gonna look i'm gonna take you to bed you're never gonna wake up again that's not sexy we've lost the plot i mean it's giving buffy okay yes i love like silly buffy
01:14:27 --> 01:14:28 Sorry, guys.
01:14:29 --> 01:14:30 But yeah, I think it's good.
01:14:30 --> 01:14:32 My only note is like, who is that better believe?
01:14:32 --> 01:14:33 Is that Sue Elise or a demo singer?
01:14:34 --> 01:14:34 Because it's not...
01:14:35 --> 01:14:37 Wait, I have the same note.
01:14:37 --> 01:14:37 Really?
01:14:37 --> 01:14:39 Because I was a little bit confused by that as well.
01:14:39 --> 01:14:40 It's not the demo singer.
01:14:40 --> 01:14:41 I'm like, who's this white lady?
01:14:41 --> 01:14:44 I couldn't tell who the one, because it wasn't one of them.
01:14:44 --> 01:14:46 Yeah, there's like another voice in here.
01:14:46 --> 01:14:47 Okay, it's like a random woman.
01:14:48 --> 01:14:49 Yeah, I thought the same.
01:14:49 --> 01:14:52 Sorry, this song is so funny.
01:14:52 --> 01:14:52 Wow.
01:14:53 --> 01:14:53 Um...
01:14:54 --> 01:14:58 I will say this is the most Swedish production on this album.
01:14:58 --> 01:15:01 It is the most stereotypical Swedish production.
01:15:01 --> 01:15:05 I mean that in a great way because obviously I love Max Martin and literally all the derivatives of that.
01:15:05 --> 01:15:05 Yes.
01:15:06 --> 01:15:08 But I will say it is a bit faceless.
01:15:08 --> 01:15:11 This could really be sung by anyone, honestly.
01:15:11 --> 01:15:13 I said Disney singer, so I get it.
01:15:13 --> 01:15:14 I could hear that.
01:15:14 --> 01:15:15 No, I get it.
01:15:15 --> 01:15:15 I get it.
01:15:15 --> 01:15:16 I didn't.
01:15:16 --> 01:15:17 I'd say Disney.
01:15:17 --> 01:15:17 I agree.
01:15:18 --> 01:15:25 Like, honestly, if it weren't for Alicia coming in that second verse and calling out Mystique, you know, in the lyrics, you know, I don't.
01:15:26 --> 01:15:26 Yeah.
01:15:26 --> 01:15:28 Like, I would not know that this is them, you know.
01:15:28 --> 01:15:28 Oh, my God.
01:15:28 --> 01:15:33 I will say that rap in the middle eight really annoys me because it doesn't rhyme properly.
01:15:33 --> 01:15:33 It does.
01:15:33 --> 01:15:34 It's slant rhyme.
01:15:34 --> 01:15:35 Yeah.
01:15:35 --> 01:15:58 kind of like the very last line i was like something in the vein and something never i don't know there's something about the cadence of it that i was like this doesn't feel like the flow i don't know if it wasn't really you know that's valid yeah but i i did not find as much joy in this song as you did i was kind of just like whatever about it i'm gonna be honest okay aaron likes it too apparently
01:16:00 --> 01:16:03 It's so funny because it's just like, okay, it's kind of crazy.
01:16:03 --> 01:16:04 We go off, I guess.
01:16:06 --> 01:16:07 So what's your rating?
01:16:07 --> 01:16:08 Okay, it's not super high.
01:16:08 --> 01:16:10 I do appreciate this.
01:16:10 --> 01:16:10 I don't know.
01:16:10 --> 01:16:11 I was 10 for you.
01:16:11 --> 01:16:13 No, no, no.
01:16:13 --> 01:16:14 It's 10 in my heart.
01:16:16 --> 01:16:18 But it is a little faceless.
01:16:18 --> 01:16:21 In terms of pop music, it's not bad.
01:16:21 --> 01:16:22 The production's great.
01:16:22 --> 01:16:30 In terms of them putting effects on Alicia's and the rapping in general, it reminds me of Space Cowboy with left-eyes rap on it.
01:16:30 --> 01:16:32 The voice kind of changes.
01:16:32 --> 01:16:33 So in terms of production, all my laughing aside,
01:16:34 --> 01:16:35 In terms of production, clever.
01:16:35 --> 01:16:38 In terms of how the vocal production was done, very clever as well.
01:16:39 --> 01:16:41 The theme, amazing.
01:16:41 --> 01:16:42 It's perfect for sync.
01:16:43 --> 01:16:45 So for that sense, eight.
01:16:45 --> 01:16:47 For like, what is on this album, 7.5.
01:16:47 --> 01:16:47 7.5.
01:16:47 --> 01:16:50 Oh, okay, okay.
01:16:51 --> 01:16:51 I have it as a seven.
01:16:53 --> 01:16:54 It's okay for me.
01:16:55 --> 01:16:55 Sorry, guy.
01:16:56 --> 01:17:01 Okay, the last song on the standard version of this album is You're Gonna Stay.
01:17:01 --> 01:17:02 And this was done by the full crew.
01:17:03 --> 01:17:09 Michael Daly, Ricardo Reed, Wayne Laws, and Sue Alicia and Sabrina of Mystique.
01:17:16 --> 01:17:35 this feels like a pre-dark child brandy oh like what about us hear that yeah like yeah it's kind of the metallicness of it with kind of those bloops and blips and stuff throughout it totally yeah thank you very clanky thank you i was like the bloops i'm like what's the word i knew you had yes it's kind of like pre-timbaland pre-dark child like mixed up together
01:17:36 --> 01:17:37 Yeah.
01:17:37 --> 01:17:41 Like Tim was working with Aaliyah, so it wasn't giving like super experimental.
01:17:41 --> 01:17:43 It was kind of giving like, OK, where are you going?
01:17:43 --> 01:17:43 No, no.
01:17:43 --> 01:17:44 Hang on.
01:17:44 --> 01:17:44 Wait.
01:17:44 --> 01:17:44 No.
01:17:44 --> 01:17:46 By this time, he was really in his bag.
01:17:47 --> 01:17:49 But point is, point is, point is, point is, I would.
01:17:49 --> 01:17:51 It's not a perfect match, but I would mix the songs if I were a DJ.
01:17:52 --> 01:17:53 Tim, Dark Hall for sure.
01:17:53 --> 01:17:55 But like I heard What About Us with this.
01:17:56 --> 01:17:59 But yes, this song, I've said it in the beginning.
01:17:59 --> 01:17:59 I'll say it again.
01:17:59 --> 01:18:00 These women are grown.
01:18:01 --> 01:18:04 There are no grown women girl groups.
01:18:04 --> 01:18:05 Really?
01:18:05 --> 01:18:05 No.
01:18:05 --> 01:18:07 No tea, no shade.
01:18:07 --> 01:18:09 It's a whole conversation to be had about girl groups in general.
01:18:10 --> 01:18:13 But like there is no confusion that they were grown.
01:18:14 --> 01:18:15 Going all the way.
01:18:15 --> 01:18:16 Getting jiggy.
01:18:17 --> 01:18:18 There's nothing else to do.
01:18:18 --> 01:18:20 You're staying in the house.
01:18:20 --> 01:18:22 We are not leaving until tomorrow morning.
01:18:23 --> 01:18:23 Oh my God.
01:18:23 --> 01:18:23 Wow.
01:18:24 --> 01:18:25 Pre-hook.
01:18:25 --> 01:18:26 Sue Elise, is that you?
01:18:26 --> 01:18:31 I couldn't, like, it's not, but I keep looking for, no, I don't think so.
01:18:31 --> 01:18:31 I don't think so either.
01:18:34 --> 01:18:37 Because, like, again, her voice is perfect for this song.
01:18:37 --> 01:18:38 Now that actually...
01:18:38 --> 01:18:41 Okay, guys, so we've done the bonus tracks.
01:18:41 --> 01:18:48 That includes This Is How We Do It, Girl You Miss, and even Hollaback, where we do hear some of Sula Lisa's voice.
01:18:48 --> 01:18:49 But, again, it's a bonus episode.
01:18:49 --> 01:18:54 So once I heard what her voice sounds like on a song like You're Gonna Stay, they should have had her.
01:18:54 --> 01:18:56 Just straight up talking nasty.
01:18:56 --> 01:18:56 Yeah.
01:18:56 --> 01:18:57 I'm pretty sure.
01:18:57 --> 01:19:01 She literally only has those two lines in that roll on, this is how we do it transition.
01:19:01 --> 01:19:06 And then there's one song on the next album where she actually does get a verse.
01:19:06 --> 01:19:09 And one of the lines is that she gets to say her piece.
01:19:10 --> 01:19:11 And I'm pretty sure that's it.
01:19:12 --> 01:19:13 You know what?
01:19:13 --> 01:19:14 She's a solid girl group member.
01:19:14 --> 01:19:15 I can't lie.
01:19:15 --> 01:19:18 I would love to be that member where I was like, I'll hold down the lows.
01:19:18 --> 01:19:20 I'll give you choreography, personality.
01:19:21 --> 01:19:23 I support everything that's happening right now.
01:19:23 --> 01:19:26 I would happily be that person as well.
01:19:26 --> 01:19:27 I'm here for the group.
01:19:28 --> 01:19:28 Yeah.
01:19:30 --> 01:19:30 Anyway.
01:19:31 --> 01:19:34 Yeah, no, I like the production of this one.
01:19:34 --> 01:19:37 I think the harmony arrangement on the chorus is one of my favorite aspects of this.
01:19:37 --> 01:19:39 Like, it just sounds super full.
01:19:39 --> 01:19:41 And they did perform this at the anniversary show too.
01:19:41 --> 01:19:45 And there were some really strong harmonies from the clips that I saw there too.
01:19:45 --> 01:19:45 Yes.
01:19:46 --> 01:19:54 Um, there's another one though, similar to, to another track on this album where the production actually stands out more to me than any of the melodies do.
01:19:54 --> 01:19:58 Like if you just strip out the production, you're just listening to the melodic aspect of it.
01:19:58 --> 01:20:04 I'm kind of just like, meh, like not, not the most memorable, but then the track, there's like a lot of cool things going on in it.
01:20:04 --> 01:20:05 So I'll take that.
01:20:05 --> 01:20:11 But again, there's just another one where I'm kind of just like, meh, like, I don't really mean to listen to this again.
01:20:11 --> 01:20:14 I don't mind it, but just nothing that memorable.
01:20:15 --> 01:20:15 No, I feel you.
01:20:16 --> 01:20:16 I understand.
01:20:16 --> 01:20:17 That's valid.
01:20:17 --> 01:20:17 That's valid.
01:20:18 --> 01:20:24 I feel like if you would have used Sue Elise, because the song is very smexy, and you just have that, like, low voice.
01:20:25 --> 01:20:25 Yeah.
01:20:26 --> 01:20:26 You know, not...
01:20:28 --> 01:20:28 Sonship.
01:20:30 --> 01:20:31 Not that she did it.
01:20:31 --> 01:20:32 She's not really in this either.
01:20:32 --> 01:20:33 No, no, she's not in it either.
01:20:34 --> 01:20:37 Guys, any jokes I make is literally just, hang on, I can say that.
01:20:37 --> 01:20:38 I'm just taking the piss.
01:20:38 --> 01:20:39 Literally.
01:20:39 --> 01:20:40 I don't mean anything.
01:20:41 --> 01:20:45 I mean some of the things that I say, but not like the ones that you don't like the joke.
01:20:46 --> 01:20:49 But like I said, they needed a moment to really let her sign.
01:20:50 --> 01:20:53 Because the song needs something to really weigh it down.
01:20:54 --> 01:20:54 Right.
01:20:54 --> 01:20:57 You know, something deeper, something more sensual.
01:20:57 --> 01:20:59 Because a lot of the singles are very bright.
01:20:59 --> 01:21:06 So I think they need something on this album to really weigh it down and not rely so heavily on the funky DJ mixes.
01:21:07 --> 01:21:08 Use the girls that you have.
01:21:08 --> 01:21:09 So for me, this is also...
01:21:11 --> 01:21:11 Mm.
01:21:11 --> 01:21:12 A seven.
01:21:13 --> 01:21:14 Okay.
01:21:14 --> 01:21:18 I have this as a 7.5 because I at least like it than the one before.
01:21:18 --> 01:21:19 Oh, I like it.
01:21:19 --> 01:21:21 And a little bit more than some of the other ones.
01:21:21 --> 01:21:22 I like it better than they'll never know.
01:21:22 --> 01:21:23 Yeah.
01:21:25 --> 01:21:26 Oh, 7.5, I'm not sure.
01:21:28 --> 01:21:33 Okay, so now we're at our cut or keep section.
01:21:33 --> 01:21:34 Yeah.
01:21:34 --> 01:21:39 So if you had to cut a song off this album, what would it be and why?
01:21:39 --> 01:21:41 I feel like everyone's like, I know what she's going to pick.
01:21:41 --> 01:21:42 Me, me, me, me, me, me, me.
01:21:43 --> 01:21:44 I will tell you this.
01:21:45 --> 01:21:46 They'll never know.
01:21:46 --> 01:21:48 I could get rid of that thing.
01:21:48 --> 01:21:48 Here's why.
01:21:49 --> 01:21:50 I don't care for it.
01:21:50 --> 01:21:51 But I won't.
01:21:51 --> 01:22:00 Only because I understand the connections and the threads that have to be made in terms of their artistry and their origin.
01:22:00 --> 01:22:01 So she can stay.
01:22:01 --> 01:22:02 She can stay.
01:22:03 --> 01:22:07 I will say you can get rid of these days.
01:22:07 --> 01:22:10 I didn't want to say it, but they don't need a ballad on this album.
01:22:10 --> 01:22:11 Screw it.
01:22:11 --> 01:22:11 You don't need a ballad.
01:22:12 --> 01:22:14 So just these days can go for me.
01:22:14 --> 01:22:16 You don't need it for me.
01:22:16 --> 01:22:20 Yeah, that's on my list for sure because it just doesn't fit.
01:22:20 --> 01:22:21 No, that too.
01:22:21 --> 01:22:22 Yeah, that too.
01:22:22 --> 01:22:22 Yeah.
01:22:23 --> 01:22:28 I would probably, I think, okay, if you choose that one, I guess I would just choose between the last two.
01:22:28 --> 01:22:31 The secrets of the night or you're going to stay.
01:22:31 --> 01:22:33 I'm kind of just like whatever with both of those.
01:22:33 --> 01:22:34 No, secrets doesn't need to be on there.
01:22:34 --> 01:22:37 It's just if I was a music supervisor for a Halloween movie, oh, yeah.
01:22:38 --> 01:22:39 Pitch that to me.
01:22:40 --> 01:22:41 I'll put it on something.
01:22:41 --> 01:22:42 It would be somebody's Hollywood movie.
01:22:43 --> 01:22:44 I mean, yeah, it would totally.
01:22:44 --> 01:22:45 Yeah, yeah.
01:22:45 --> 01:22:46 Yeah.
01:22:46 --> 01:22:47 In terms of the keep.
01:22:47 --> 01:22:51 So our patron, George, he said that type of girl is his favorite album track.
01:22:51 --> 01:22:55 He loves the chilled UK garage vibe and thinks it could have been a single.
01:22:55 --> 01:22:58 So I'm assuming that for George, it is his keep.
01:22:59 --> 01:23:03 I do think that's definitely a strong choice for sure.
01:23:04 --> 01:23:07 If I were to pick another one, maybe better, better.
01:23:08 --> 01:23:09 What, not Secrets of the Night?
01:23:10 --> 01:23:13 Mm-mm.
01:23:14 --> 01:23:15 She deserves some love, y'all.
01:23:16 --> 01:23:17 Okay, I respect that, yeah.
01:23:17 --> 01:23:19 I was thinking better, better.
01:23:19 --> 01:23:21 The harmonies in that bridge is nasty.
01:23:21 --> 01:23:22 Okay, let me see.
01:23:22 --> 01:23:24 Damn, they made the singles a single for a reason, y'all.
01:23:24 --> 01:23:26 I know, I know.
01:23:26 --> 01:23:26 That is so rude.
01:23:26 --> 01:23:29 I think the other one I would maybe consider Stamp Reject, maybe.
01:23:31 --> 01:23:55 honestly the rest of it i'm kind of just like that latter half is nasty though i would say a latter half of uh sam reedek is so nasty i love it um yeah oh that's george that type of girl is um yeah that one is strong for sure that that way you were i love how she says it so in terms of overall thoughts at a final rating so george did say that he thinks this album is an underrated girl group classic
01:23:56 --> 01:24:01 He agrees there's a killer singles run, especially with all the remixes and video versions, which are finally on streaming.
01:24:01 --> 01:24:08 Thanks to this reunion, because before then, guys, we didn't have the roll on single remix.
01:24:08 --> 01:24:10 Like, we didn't have to be with these single remakes.
01:24:10 --> 01:24:12 Like, I was quite frustrated by that, too.
01:24:12 --> 01:24:14 So at least something good came out of this reunion.
01:24:14 --> 01:24:16 You know, yeah.
01:24:16 --> 01:24:17 Publishing is tough stuff to get around.
01:24:17 --> 01:24:19 So to whoever figured that out, thanks.
01:24:20 --> 01:24:20 Yeah.
01:24:21 --> 01:24:21 Thank you.
01:24:21 --> 01:24:21 Yes.
01:24:22 --> 01:24:28 Another listener of ours, Mikkel, said that this album is a milestone for UK Garage and a real national treasure.
01:24:28 --> 01:24:29 So what do you think?
01:24:29 --> 01:24:29 I agree.
01:24:30 --> 01:24:31 Our first time listening to a full Mystique album.
01:24:32 --> 01:24:33 I agree.
01:24:33 --> 01:24:44 I think just looking at who came after in terms of like Sonics and things like that, Mystic may not be a part of like U.S. conversations, but U.K. pop fans like no.
01:24:44 --> 01:24:51 And like I said before, for this to be a black girl group coming up after this pure, clean, gospel inspired, eternal, like...
01:24:52 --> 01:24:55 You know, and honeys, like they were very much like sweet.
01:24:55 --> 01:24:57 Not to be, no pun intended.
01:24:57 --> 01:24:58 They were sweeter.
01:24:58 --> 01:25:01 They were more like, you know, praise be kind of vibe.
01:25:01 --> 01:25:03 This was mold breaking.
01:25:03 --> 01:25:04 This is like, we're talking about the club.
01:25:04 --> 01:25:05 We're having a good time.
01:25:05 --> 01:25:08 This was, I guess, the Destiny's Child answer.
01:25:08 --> 01:25:09 I get the comparison.
01:25:09 --> 01:25:10 There is none.
01:25:10 --> 01:25:12 Apple and oranges, yes, they're both rude.
01:25:12 --> 01:25:14 Even if you want, like, they're both apples.
01:25:14 --> 01:25:17 One's a green apple giving me sour and bite, which is Mystique.
01:25:17 --> 01:25:20 And one's another one was like, okay, this is kind of sweet.
01:25:20 --> 01:25:21 It's a little tangy.
01:25:22 --> 01:25:23 That's Destiny.
01:25:23 --> 01:25:24 You know what I'm saying?
01:25:24 --> 01:25:25 For me, they had a lot of bite.
01:25:25 --> 01:25:27 And I'm so sorry to George.
01:25:27 --> 01:25:28 Um...
01:25:28 --> 01:25:30 for sleeping on them for so long.
01:25:30 --> 01:25:31 And then it was like 25th anniversary.
01:25:31 --> 01:25:32 It was like, oh, perfect.
01:25:33 --> 01:25:34 So yeah, they're trailblazers for sure.
01:25:34 --> 01:25:36 And it's cohesive.
01:25:36 --> 01:25:39 It's not like this genre tourism that happens a lot in pop.
01:25:39 --> 01:25:40 This, like, no one sounded like them.
01:25:41 --> 01:25:43 That second half of the album, I could understand like some
01:25:45 --> 01:25:59 moments like okay Sickness of the Night did not need to be there it felt so just like let's just throw something on there but it would have been perfect for a sink for anyone's like Halloween movie I'm gonna die on that hill but yeah they were really cool and I feel like a dork for not knowing who they were
01:26:00 --> 01:26:00 Truly.
01:26:01 --> 01:26:02 You knew Scandalous, didn't you?
01:26:03 --> 01:26:06 Because the Catwoman movie, you know, was the only reason why.
01:26:06 --> 01:26:07 It's not fair, you know?
01:26:07 --> 01:26:12 It's just one of those things where the territory thing really did create that issue.
01:26:12 --> 01:26:12 Yeah.
01:26:13 --> 01:26:16 Yeah, like I said, I knew all the singles, but never really went that much further than that.
01:26:17 --> 01:26:20 So yeah, I do think this is a solid album overall.
01:26:20 --> 01:26:22 Like the concept is there.
01:26:22 --> 01:26:23 There are some gems on here.
01:26:23 --> 01:26:33 The singles and just the whole concept of marrying R&B and UK Garage together into this kind of pop formula is awesome.
01:26:33 --> 01:26:36 And I think like I've been saying, like Alicia...
01:26:37 --> 01:26:38 I mean, what a star, right?
01:26:39 --> 01:26:43 Like she, that is what elevates these songs so much.
01:26:43 --> 01:26:43 Yeah.
01:26:43 --> 01:26:45 And so I'm glad.
01:26:45 --> 01:26:51 It's awesome that they were able to find that so quickly, like from the first jump, basically, with the first single.
01:26:51 --> 01:26:53 A lot of co-writes too from them.
01:26:53 --> 01:26:54 Sheesh.
01:26:54 --> 01:26:55 Yeah.
01:26:55 --> 01:27:02 And I will say, though, I almost wish that, especially with all these different re-releases they did, I wish there was a true two sides to it.
01:27:02 --> 01:27:05 Like, I wish they actually had R&B versions and the garage versions of all the songs.
01:27:05 --> 01:27:06 Like, how cool would that be?
01:27:06 --> 01:27:09 Yeah, a nice, clean, like, master.
01:27:09 --> 01:27:11 Yeah, like, R&B versions.
01:27:12 --> 01:27:37 garage versions and then like yeah versions like that would have been really really cool it's just kind of really stick the landing on the concept um but overall i'm not mad at it and i yeah these singles oh what a great run yeah solid solid run of singles honestly even including you know the latter three that happened to the next album too yes yeah as a whole i think because the singles are so strong it does push the whole thing up so i have it as an eight
01:27:40 --> 01:27:41 I'll match you with an A. I do like this.
01:27:42 --> 01:27:47 Even with the lower hanging fruit of the tracks, they're not bad pop songs.
01:27:47 --> 01:27:49 I think they're not bad.
01:27:49 --> 01:27:52 It's just like the signature was so signature.
01:27:52 --> 01:27:52 Yes.
01:27:53 --> 01:27:54 You can't forge it at this point.
01:27:55 --> 01:27:56 Yeah, so I get it.
01:27:56 --> 01:27:58 So A, I'll match you with an A.
01:27:59 --> 01:27:59 Oh man.
01:27:59 --> 01:28:00 All right, everybody.
01:28:01 --> 01:28:02 What do you think of the album?
01:28:02 --> 01:28:07 And did any of you attend the one night only 25th anniversary concert?
01:28:07 --> 01:28:09 Let us know how it went.
01:28:09 --> 01:28:11 Did you feel any tension between the members?
01:28:11 --> 01:28:12 Let us know.
01:28:13 --> 01:28:15 And tell us what other artists or albums you want us to review next.
01:28:15 --> 01:28:18 Should we do the next Mystique album soon?
01:28:18 --> 01:28:21 Or should we do an Alicia solo moment?
01:28:21 --> 01:28:22 Like, what should we do next?
01:28:22 --> 01:28:25 Or should we do the full Pop 101 documentary?
01:28:25 --> 01:28:26 Or should we get an interview?
01:28:26 --> 01:28:27 Oh, yeah.
01:28:27 --> 01:28:28 I would love an interview.
01:28:28 --> 01:28:28 Yeah, that'd be fun.
01:28:28 --> 01:28:30 I'll talk to you later.
01:28:30 --> 01:28:30 Yeah.
01:28:31 --> 01:28:33 Huge shout out to our CCTV crew on Patreon.
01:28:33 --> 01:28:40 We have Lily, Emily, George, Jonathan, Janelle, Julianne, Darius, Ren, Hillary, Luke, Ivana, Ryan, Chase, Diego, Aaron, and Espin.
01:28:40 --> 01:28:44 And you can follow us everywhere at CCTV Pops on all social media.
01:28:44 --> 01:28:50 If you're on YouTube, don't forget to like, subscribe, turn notifications and give us that hype down next to the comments.
01:28:50 --> 01:28:55 And if you're listening on a podcast app, a follow rating and a share of the episode really helps us out.
01:28:56 --> 01:28:57 Until next time, that's Chantel.
01:28:58 --> 01:28:58 That's Chris.
01:28:59 --> 01:29:01 We are CCTV, the nonstop pop show.
01:29:02 --> 01:29:04 All I want is to be with you.