It took us nearly 20 years, but we’ve finally arrived! In this episode, Chris and Chantel Nicole listen to Rachel Stevens’ cult classic album Come and Get It for the very first time - and we’re going track by track through the electro-pop goodness. From icy-cool bangers to underrated deep cuts, we’re breaking down the production, vocals, lyrics, and legacy of one of British pop’s most beloved hidden gems. Was this truly one of the greatest pop albums of the 2000s? Yes. Yes it was.
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- 0:00 - Intro
- 1:57 - "Come and Get It" Album Info
- 2:34 - Album Cover
- 3:46 - "So Good"
- 10:13 - "I Said Never Again (But Here We Are)"
- 14:49 - "Crazy Boys"
- 20:25 - "I Will Be There"
- 23:30 - "Negotiate With Love"
- 32:15 - "All About Me"
- 36:16 - "Secret Garden"
- 40:12 - "Nothing Good About This Goodbye"
- 44:08 - "Some Girls"
- 50:25 - "Je M'Appelle"
- 53:13 - "Funny How"
- 56:49 - "Every Little Thing"
- 1:01:10 - "Dumb Dumb"
- 1:04:25 - Cut or Keep
- 1:05:57 - Overall Thoughts & Final Rating
References:
- “So Good” MV https://youtu.be/JF8UxVUofVc?si=Moyvk98xV_gEW0b9
- “So Good” Live at TOTP https://youtu.be/F0GQ2qTJZ3g?si=0IuFW1rWma8YHgS0
- “I Said Never Again (But Here We Are)” MV https://youtu.be/_rWwwVSCLf0?si=bR1XrSC7vLtepLof
- “I Said Never Again (But Here We Are)” Live at Paul O’Grady https://www.youtube.com/watch?v=7LLx4qXbyxg
- “Negotiate With Love” MV https://youtu.be/w-thoN6hMeE?si=o8opb9iu2mMR_NLb
- “Negotiate With Love” Live at TOTP https://youtu.be/1PqtSzp_bh0?si=OK4ahJRyB2H5OP4n
- “Nothing Good About This Goodbye” Live at GM:TV https://youtu.be/m6F6j2y_aec?si=KwO_zWnJ3H5eYk5c
- “Some Girls” MV https://youtu.be/lVIYgig9maY?si=myFqVMhU6FNV37Hi
- “Some Girls” Live at CD:UK https://youtu.be/ft_kFZUxYgA?si=VGBVR_Cmrt1QRxDt
00:00:00 --> 00:00:09 She's not just the hot one in S Club 7. She's the one with the critically acclaimed pop albums. Today, we're talking about Rachel Stevens' second album, Come and Get It.
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00:00:46 --> 00:01:15 That's right, because this episode was actually chosen by one of our Patreons, Joy. So if you would like to have that access, once again, go to our Patreon. All right. So this is, I guess, our first foray into like an album by any S Club member or S Club 7 as a whole. We do have an S Club Hot 101 series, but we didn't actually go in super depth. And we also do have an S Club versus Steps.
00:01:15 --> 00:01:38 episode with can't stop the pop which was really fun for us but again this is our like track by track review and we do want to let you all know that although we do have these extensive episodes this is our first time listening to rachel's solo material as we mentioned george our patreon did suggest this to us so it was our first time actually listening it uh like separately together this is our first time ever so
00:01:38 --> 00:01:55 If you are a Rachel Stevens fan, you're like, oh, but it's not like this other song. We wouldn't know. This is the first time I was hearing her stuff. Yeah, I knew her singles, but not that well. But yeah, this is definitely my first time delving into any album tracks. So let's find out if we like them or not.
00:01:55 --> 00:02:22 We'll see. So Come and Get It is Rachel Stevens' second studio album, and it was released in October 2005, peaking at number 28 on the UK Albums Chart. And though its commercial performance was only okay, the album received widespread critical praise and is widely regarded as one of the best pop albums of the mid-2000s with contributions from huge producers and songwriters like Xenomania, Richard X, and Jewels in Stone.
00:02:22 --> 00:02:34 That's right, and now we will go back by track to discuss the production, vocals, and lyrics, and give our ratings for each song. Viewer discretion is advised. Your fave will be criticized.
00:02:35 --> 00:02:52 So first, let's discuss the album cover, which was shot by Ellen Von Unworth, who's known for her glamorous, feminine, and slightly surreal aesthetic. And she has shot other iconic album covers like Britney's Blackout and Rihanna's Rated R and Talk That Talk. So what do you think of this cover?
00:02:53 --> 00:03:23 You know, I'm not sure what I'm coming to get. She looks great on it. She's a beautiful woman. But what am I coming to get? Other than face. Other than face. Like we're getting face. It's very minimal. Again, I'm not sure what the goal was. I'm not sure what the goal was. She doesn't have much of an expression on her face. So maybe it's a, oh, if you want to learn more about me, you got to come and get it. Yeah. Like, oh, come look inside or something.
00:03:23 --> 00:03:39 plain I guess you use the word minimal which is a nicer word not the most impactful cover shot unsuspecting because I think it doesn't really convey what's inside of the package it's such a glittery album
00:03:39 --> 00:04:05 So yeah, I don't know if I love this. But let's get into the songs. So track one is So Good. And this was done by Pascal Gabriel and Hannah Robinson. And it was released in July 2005 as the second single from the album, peaking at number 10 on the UK Singles Chart. And the song was one of the first tracks recorded for the album and played a pivotal role in defining the sound of the album.
00:04:09 --> 00:04:29 Pivotal is such a strong word, I think, you know, but this is how you open up a pop album with synths sharper than Rachel's cheekbones and a hook that sparkles. I think so good is Rachel in full confidence mode. It's unbothered. And it's probably walking away in slow motion, you know, like it's very like.
00:04:29 --> 00:04:47 whatever's exploding behind her, whatever disco party she's leaving, she's leaving confidently and you're watching her leave. Vocally, she doesn't really belt. Rachel kind of purrs and she glides and sighs a bit more than I think what I was expecting.
00:04:47 --> 00:05:11 It is a cool girl pop kind of song. It has a detached charisma that Charlie XCX or even Dua Lipa have moments of in their music. I think Dua Lipa mostly maybe. If you think about how she talks things sometimes, this kind of has that vibe. The whole, I made it on my own again and I'll get back on my feet again. The lyrics are the classic empowerment after a mess kind of material. But...
00:05:11 --> 00:05:22 Again, it's delivered with that cool cat kind of tone. We're going to talk about the video later, but I think the whole essence of the song is cool, icy, sparkle.
00:05:23 --> 00:05:44 You know, so I like it. Yeah, I feel like it's not just so good. It's a little, I want to say like it's ahead of its time, but it's definitely something that would have been played up maybe by like a Kylie or like an earlier Girls Aloud. So we both like both those artists. So this song kind of like feels like something a little. I think there are other songs on this album that are more so than... Yes, yes.
00:05:44 --> 00:06:06 um but yeah so i do want to shout out our patron george who did request this episode he does think so good should have been the first single from the album since it's kind of an obvious standout on the whole project and there might have been a bit more momentum going into this album because we'll talk about the first single later we're not sure if that was the right choice right yeah so yes i really like this one i love that wiry repetitive synth
00:06:07 --> 00:06:19 And yeah, I think the cold and kind of like, I'm going to use this word a lot, I feel like, the kind of siren-y kind of background vocals in there. Because I feel like that, there's this whole kind of,
00:06:20 --> 00:06:45 You can say wood nymph. You can say siren. You know, just this kind of ethereal sea or forest creature that she just embodies really well. Yeah. And the song gets so, and I use the word glittery before too, like this has a very glittery chorus. And there's such a good energy to it all as well. And then there's actually a funkiness that kind of comes into the second verse with all the kind of zipping synths and stuff.
00:06:45 --> 00:07:07 And yeah, I think, yeah, let's talk about Rachel's voice now more so. She does have a very pure voice. It's very, very commercial pop. Yeah. It's not very emotional. It's kind of cold and kind of monotone for the most part. Yes. You know, and for this song, while the lyrics are about kind of self-assurance,
00:07:07 --> 00:07:27 Yeah. And not really being bitter about anything, just knowing that, you know, you're going to feel great. Right. At the end of everything. But then she's singing it very cold. So then I guess it makes it less cheesy in that way. Like it just feels confident. Yeah. Oh, wow. I feel like if you sing it with a smile and it got this more bubbly kind of thing, it would be a bit cheesy, actually, if you just read the lyrics. Oh, wow.
00:07:27 --> 00:07:41 Yeah. Okay. It works out for her and her. Yeah. So I think for this case, I think it works. I think in other cases, there are some where I'm like, okay, you could push a little bit more in the emotion side of things. But I think for this, it totally works. Um...
00:07:41 --> 00:08:07 And speaking of that, I do wish there were some ad libs at the end, but she's just not that kind of vocalist. So I've just accepted that right at this point. But it's a fun one to dance around to. I do think it's a highlight from this album. I don't think it's the best, but I get why it'd be a good... I agree with Georgian that it could be a good lead single. For sure, but I have other ones that are like, ah, I mean, cheer. Yeah, yeah. So let's get into the video then. Yeah. What do you think? The video...
00:08:09 --> 00:08:25 You know, there is something amazing about having people wear boleros and shirts and just moving their arms. So I remember watching the video and I was like, who was the dancer in S Club? Oh, yeah, it was Tina. It was Tina. It was Tina. Yeah.
00:08:25 --> 00:08:43 I appreciate the minimal kind of approach to the choreography with the armography. It's very simple in terms of set. Like you're just in front of this giant lit up back wall. You know, it's nothing like, wow, oh my gosh, amazing, but she looks good.
00:08:43 --> 00:09:04 I don't see a lot of confidence just yet. I do feel like she's like a sexy robot, though. It's giving sexy robots, sexy disco robot. So that was the direction she played that really well. But yeah, I was just like, ooh, I wonder if we're going to get more scenes. We didn't really get a lot. No, this was definitely, it felt a little low budget. I'm going to be honest. Yeah, I did. Yeah.
00:09:04 --> 00:09:28 I also just said sexy robot. Oh, you did? Like, if that's what she's going for, then sure. Yeah. I think the four boys behind her, you know, they got some good pictures and formations in there. Yeah. With the dance routine. Yeah. And then when you watch it live, you know, there are some fun moments in the routine, like when they all pick her up and hold her upside down on the bridge. Yeah. There's a moment. There's a moment. Yeah. And all the...
00:09:28 --> 00:09:55 Yeah, all the armography. I'm not mad at it. Like this song, I think because her delivery is so kind of cold, I think it kind of works that it's not a super energetic moment. Yes, true. Because I think everything about this is I'm doing the dance. Yeah, so good. So good. With the beckoning. Yes. I don't know. I love so good. So good. But yeah, I think that the dance. You remember it? Yeah, I do remember because it's just so weird.
00:09:55 --> 00:10:12 But yes, I think overall it does what it needs to do, but it was one of those things where I'm like, oh, she has better on this album. She does. And I know now. But not a bad start. Not a bad start. Not at all. So what do you rate it? I gave it an 8. Okay. I will go 8.5. Ooh. Okay.
00:10:12 --> 00:10:41 Up next is I Said Never Again, But Here We Are. And this was done by Robert Davis and Julian Gingle and Barry Stone, a.k.a. Jules and Stone. And this is the third single from the album released on October 2005, peaking at number 12 in the UK. And there was a music video that was filmed on the set of the British television series, Bad Girls. So there's a video with this one as well. We'll talk about it a little bit later. But how do we feel about this song?
00:10:46 --> 00:11:06 The guitars in this are fun. Like, I kind of like the kind of glam punk influence that's in there. And it has a great, it's one of those songs that you can really strut down the sidewalk to. Oh, okay. We're walking again. It has that kind of vibe. Yeah. You know? Yeah. It has that kind of sassiness and confidence to it. Mm-hmm. Mm-hmm.
00:11:06 --> 00:11:25 And yeah, the lyrics are kind of cheeky, you know, about kind of giving into temptation and just embracing that decision, even though you probably know it's a bad idea. Like, I'm not mad at that as a concept. That's kind of fun. Yes. You said girls loud earlier. I hear girls loud in this one. Oh, yeah. Yeah. Especially that bridge. Like, I was like, oh, Sarah would eat this. Oh, good, Sarah.
00:11:25 --> 00:11:41 That's my favorite part, too. I think the bridge is great. Yes. And in this case, Rachel does give a little bit more in terms of kind of the sass with her vocal delivery here. So, yeah, I like this one. I think this is one of the better singles off this album. Oh, valid. Super valid.
00:11:41 --> 00:12:09 I feel like this one, I also have something about strutting or walking. But, you know, this track struts wearing it. It's a leather and eyeliner. So it has a little bit more of an edge. It's like her little rock pop moment, but not like not super rock pop. But it's kind of just like, I'm a rock star. I'm going to just serve sass instead of just heartbreak. I let you in my back door is always a fun line. I know. I know what it means. I know what it means. But when I think about like a person's audience or like the people that listen to their music, I know how cheeky that can kind of sound. Yeah.
00:12:10 --> 00:12:29 But I get it. It's like, you know, I said no. And then here you are. I'm like, okay, as long as no one sees you coming in, you can come in the house. So that's what it means. I just like that. You're the one that's creeping rough instead of deceiving. Like, this guy's trash. Absolute trash. But apparently, he puts it down. He puts it down for her.
00:12:29 --> 00:12:46 And honestly, may this love never find me in the name of the mother, the daughter, and the Britney spirit. Please, pop goddesses, keep this kind of love away from me. Like, just go and stay gone, you know? But yeah, the guitar riff is getting glam. The beat is very, like...
00:12:46 --> 00:13:11 I don't want to say it's turbocharged, but it's a driving kind of situation. And the attitude is there. But again, because of her vocal delivery, it feels a little bit more just like cool girl kind of just saying, oh, my God, he's back again. Girls, guess who called me? This guy. You know? So, yeah, I feel like this song is about a relapse, romantic relapse, not narcotics. And the chorus, I think, is probably the most addictive part of it.
00:13:11 --> 00:13:39 Um, but yes, this is the soundtrack to the guy you shouldn't text back, but you will always straighten your heels toward. And, uh, I think it's, uh, it's fun. Yeah, it is fun. And the music video is pretty fun. Like, I think the jail as a setting is fun. So silly. I assume Bad Girls, just from reading this synopsis, it kind of just sounds like, what's that Netflix show that was also in, like, a woman's jail? Orange is New Black. Yeah, I guess a funnier version of that, like a less dark version of that. Gotcha, gotcha.
00:13:39 --> 00:14:05 And yeah, she looks great. I think the dance scenes are actually really effective here. I think all the lighting throughout the jail is great. Oh my gosh, yes. I was waiting for her to flip her hair the whole time. I was like, come on, come on, flip her hair, flip her hair. And then at the end, she did it. Oh God, yes, I was so satisfied. Yes. The choreo for this, it's okay. For some reason, it was more effective in the music video. Editing. Yeah, exactly. Like the actual performances that I watched...
00:14:06 --> 00:14:28 it's okay. I think because she lip syncs, they could have given her a bit more. Because in those verses, she's kind of just walking around a little bit and the dancers are around her, but she's not really doing anything. So I feel like they really could have upped the ante a little bit here. Yeah, a disservice. Yeah, nothing that memorable about this choreo for me.
00:14:28 --> 00:14:47 Yes. Oh, goodness. Well, thanks. She deserves better. She doesn't really, like, provide justice to it. Give it justice? The word. Yeah. English is not my first language. But anyway, does that take away from your score at all? No. Okay. No, I like this one. I'll give it a nine. I gave it an 8.5. I'm, like, right underneath you.
00:14:48 --> 00:15:06 Okay, moving on to Crazy Boys. This was done by Richard X and Hannah Robinson, and it is believed that this was potentially going to be a single due to it showing up as a pre-order on the HMV website for a September 2005 release, but I said never again, but here we are. Was chosen instead. Hmm.
00:15:12 --> 00:15:29 I don't know if that was the right choice. I don't know. Because this one's kind of like, it's kind of saucy, you know? I mean, I'm trying to figure out what the overall, like, artistic vision for her was. Like, what was her brand? That's why I went Siren or Wood Nymph. Yeah.
00:15:29 --> 00:15:52 That's okay. No, I get it. But like, yeah, visually, what's her vision? Not for you think what she's mostly presented to as in the general public, you know, because like, even with some of the videos, it's kind of giving sassy, like, heartbroken kind of thing. Because I think siren, I think of I'm singing you to your death, like, you know, the sink the sailors. Oh, yeah. I think it was more relatable, like, girl next pot girl next door. Oh, yeah.
00:15:52 --> 00:16:18 Oh, dang it, because this song would have been not that. I don't know. What do you think? I feel like visually, I don't know. Actually, maybe I'm wrong. I feel like it's a little edgier than that. So I don't want to say girl next door. But if that's what you're getting from it, then that's what you're getting from it. My thing is... No, but I was thinking of like the negotiate with love video. But then if you're looking about so good and then now she's in jail for the last video. So maybe it's not so much that. Interesting. Okay. I think it's because...
00:16:18 --> 00:16:35 I've listened to so many interviews and stuff with her, and she just seems like a really nice person. Like, kind of introverted, nice person. And so I think maybe that's bleeding into it. Because I think they were actually probably hoping that she would turn into, like, a sex putt.
00:16:35 --> 00:16:51 Yeah, but that really matters because of the public perception during these interviews, people, you know. Oh, interesting. I mean, I'm looking at it retrospectively. Anyway, fans who were around at the time. Yes, please. Let us know. Absolutely. What do you think? Yes, because I like...
00:16:51 --> 00:17:12 Oh my goodness. It's tough when you have an artist. It's probably more of a timid person. Or more of a reserved person. And then when they're on stage. Sometimes it transforms. Maybe they have a Sasha Fierce Beyonce moment. I'm not sure who Rachel's alter ego on stage was. If she had any. But I feel like Crazy Boys was a fun little. You know. It was a fun little moment. I think it really is. And I.
00:17:12 --> 00:17:35 I think with Richard X at the helm of the sexy ship, honey, you know, it's going to slap and zap with electro pop and quirky production. Crazy Boys, it feels like it's cyber chic and also alien-esque. Yeah. Like, it feels like it was meant to be in, like, this laser lit nightclub orbiting around, like, a planet like Venus. Because obviously the planet of love, because she's giving energy.
00:17:35 --> 00:18:03 very much love and touch me and you know like for you i'd wait forever nobody does it better and and then the woos right after it sounds very ethereal very distant but again because of the electro pop it's like oh snap i believe you would wait light years for this person but i also know you'd be dancing the whole time while you're waiting um when i was singing when i was singing listening to the song i kept kind of singing breathe on me by britney spears like along with it and it somehow works
00:18:03 --> 00:18:24 I was singing along. If I was a DJ, tell me I wouldn't go off. You wouldn't blend those. We've talked about this before. Yeah. Maybe it's something we should look into for you. I should look into for you. I'm going to remix my life. But yeah, I think she floats really nicely over the beat. I think the vocals, although filtered, they were kind of flirty. Yeah.
00:18:24 --> 00:18:47 Nothing like huge fantabulousness, but it was nice enough for me to be like, okay, there's something different happening here. But yeah, I think the song is about being drawn to bad boys. So, you know, you should stay away from them, but you're not going to because you really want this hot one. But yeah, you're going to dance with them or self-destruct. It's like a sexy robot falling in love. So yeah, I think it's a fun song. I enjoy it. I think I like it because of the concept. Yeah.
00:18:48 --> 00:19:11 yeah i think the concept's what's brought me in because i have like so many ideas about what a video could have been oh yeah yeah so i actually did call out britney for this one as well i was like imagine britney singing this but she would do it she would take the sultriness a level higher right it'd be a little more breathy it'd be more vocal fry a little bit more play that's what i
00:19:11 --> 00:19:39 production of this is really fun like it's very powerful with kind of the staccato stabs and then all these kind of like mysterious synths yeah uh in there i think the chorus actually lets it down a little bit for me um like the or whatever i'm just like it's a bit lazy i don't know it's not that much of a hook no it's not no it's just kind of like i like the verses more it's like a sound
00:19:40 --> 00:20:01 Yeah, no, I think it just kind of adds like an instrument kind of sound. But it feels like it's like, oh, we can think of more lines. So they just add. Yeah. I don't know. This chorus isn't fully my favorite. But I do like the song. It's just it's not a single to me. We do get some little adlibs in the final chorus, which is nice. Yes. Yes. Yeah, I mean, it's still good. I still give it an eight.
00:20:01 --> 00:20:10 Okay, I give this one an 8.5. It's not like super high, but I do like this one in terms of like, again, the concept snatched me up. I feel like there's so much potential here. Yeah.
00:20:11 --> 00:20:31 845 yeah that's fair i mean a lot of these songs i feel like yeah and i keep saying breathe on me on this so i'm just like at this point the remix saves it for me all right the remix that doesn't exist saves it for me up next is i will be there and this is written by hannah robinson pascal gabriel and paul staten
00:20:36 --> 00:20:56 All right. This one. I really like this one. Yeah? Yeah. It's one that I didn't think much about. I think the first few times I listened to the album. But I think it really stands out in a good way. I do love a good electro ballad. You know, this one's kind of giving Pet Shop Boys a little bit. Okay. Okay.
00:20:56 --> 00:21:14 Because it has that kind of futuristic kind of 80s-ish vibe. And it's kind of melancholic. It's kind of mysterious. Yes. But then there's, because the vocal, I mean, because the lyrics are pretty warm lyrics. It's just an interesting juxtaposition because it's almost like she's a ghost.
00:21:14 --> 00:21:44 singing to this person who she'll always be there for but they don't know that you know i don't know it's very interesting there's just a melancholy there that i like um and i think that's why the cold vocal kind of works because i think the whole instrumental just feels very ghost like yeah it's amazing and there's some very nice backing vocal layers in there i will say i don't think they're rachel or they're not at least most of them at least are not rachel i assume hannah
00:21:45 --> 00:22:11 But yeah, they're really nice layers. And there are strings in the bridge, too, that are very haunting. Like, I'm here for this whole vibe. I find it very interesting. Yeah, you know, I have retro percussive moment in my notes. And I said, oh, a ballad moment, but make it synthy. So I agree. I like the melody of the verses. It's melancholic. And then when the chorus comes in, I can honestly say I didn't care for it at first. It was just, you know, like...
00:22:11 --> 00:22:38 It loses me a bit, but then the, I will be there comes in. And the refrain, I think for me, the refrain is the best part of that. Because of the harmonies, overlapping vocals, and the bell sound that kind of twinkles. It's like, it's almost as if they're kind of teasing with the, like a little bit of an ABBA direction. Like if you think about the harmonies and the way it sounds and the strings that come in, it's like, oh, we're going to do with it. And then it goes right back into the verse. The track slows the pace just enough.
00:22:38 --> 00:22:51 to make it feel like there's some emotional depth on the album and not just like, you're cheating on me, you're a bad boy. The distance that you hear, I kind of get the same vibe. I got space, but it's not a huge difference. Either way, there's something that's...
00:22:52 --> 00:23:19 abnormal paranormal abnormal whatever about the sound of it like she sounds like she's either a ghost or an alien watching her human lover um yeah it's it's about support and being emotionally available for someone but with like an icy like poise kind of it's like a ghost that wishes they were yeah but like it's kind of icy like rachel doesn't sound messy like about there's nothing messy like like you know i'll be there for you and she's not like yearning she's just like i'm here
00:23:19 --> 00:23:28 Whenever you need me, if you ever see me. So I like it. I like this one. Okay. What do you rate it? I gave it an eight, though. Okay. I'll give it a nine. Yeah.
00:23:30 --> 00:23:59 Negotiate with Love is up next, and this was done by Anders Wolbeck, Matthias Lindblom, Miriam Nervo, Olivia Nervo, and Pete Hoffman. And this was the first single from the album released in March 2005 and peaking at number 10 in the UK. And our patron George told us that in Rachel's autobiography, she noted that she didn't think that this should have been a single and did not feel as confident about it as some of her previous singles like Some Girls and Sweet Dreams by LAX.
00:24:01 --> 00:24:04 So I guess she agrees with the fans.
00:24:05 --> 00:24:33 You know, listen, listen, listen, listen. I don't hate this song at all. I think lyrically it's relatable. You know, coffee turned into something, and then it turned into someone ghosting you. I mean, men have been playing games for years, I guess, for forever, I guess, you know? This song is kind of like one of those typical, he ghosted me, I don't know what's up with that, but instead of being sad, it's more just like,
00:24:33 --> 00:25:02 I'm tired of playing the games. And she's putting the contracts on the table. Like, sir, you're in breach. This is a cease and desist. Stop and stop some more. I think the best-ish, I don't want to call it best, but I think one of the more interesting parts is that post-chorus, one breath, run-on sentence moment. It does remind me of another song, but I can't quite put my finger on it. The da-na-na-na-na-na-na-na-na-na-na. I think it's very, like, it could have been something,
00:25:02 --> 00:25:19 But I think her tone of voice just doesn't fit the attack and attitude that's necessary to make it sound less like... I don't... It sounds kind of like a bug in the ear a little bit because it's just one constant note as opposed to some type of...
00:25:20 --> 00:25:47 There is no up and down in terms of vocals. And I think because this is one constant note. It's like when a choir sings in unison, but they sing in unison for four bars. And you're like, babe, what's that? Yes, like there's no textural elements to it. There's no, yeah. No dynamics that go up and down with the notes. But I don't hate the song completely. It's that one part. I'm like, dang, the potential is kind of there. The song almost also has like this, like...
00:25:47 --> 00:26:14 I don't know what the genre of music that comes with James Bond kind of sounds. I don't want to call it like surf music, but it's like the doom, doom, doom, doom, doom. It sounds mysterious or like a caper. It sounds like a caper. I don't know. But yeah, I think that one part, this song is not bad. It's confident. It's a little cheeky. And it does have the musical DNA of a Girls Allowed song, but it's actually lacking some punch. And maybe it's in a mania twist. I think maybe. Hmm.
00:26:14 --> 00:26:33 Something's missing in terms of like wow moment. But it has potential. Wow. Yeah, I don't think it's a bad song. Yes. I just agree with the note that it's not the strongest song on this album. Like by far not the strongest song on this album. So I do agree that maybe having it as the lead single is a bit of an odd thing.
00:26:33 --> 00:27:02 choice i think the production does have some interesting elements here there's some weird noises and choices you know kind of throughout it some odd synths and even like the snare for example is kind of a weird choice of a snare or to me like if i was producing the song i don't think i would make any of these choices but there's an interesting sheen to it all oh she that's a good word that's just like a master kind of thing a mastering kind of thing but um i think the actual mix is really well done actually yes
00:27:03 --> 00:27:21 But yeah, that whole kind of bug in the ear, constant note moment in the chorus, I do find that annoying. And I think you're right in that if it was sung with a bit more, I don't know if it's emotion. I don't know if it's just like texture and dynamic like you were saying. Yeah, it doesn't make the impact I think it was supposed to make.
00:27:22 --> 00:27:50 Right, because it could have been like a moment where it was like, ooh, girl, go off. Like if she was really like, not belting it, but if she was like chest- Angrier. Angry, yeah. This could have been like a ooh moment. Yeah, because maybe, I think you're right in that it was supposed to kind of just be like, I'm over this. Like here's, like, just leave. Like I don't, I'm not dealing with this. I think maybe that's the attitude they wanted her to have. But I think we were watching this music video together a few days ago. And this was the one where you were like, imagine Kelly Clarkson singing this. Yeah. Yeah.
00:27:51 --> 00:28:03 And it's kind of hard for me too, but when I do try, you know, she would like felt the crap out of it and like put her feeling into it and she would sound angry and it would be, you know, it would...
00:28:03 --> 00:28:32 Yeah, I don't know. Like, maybe you don't need to end this with composure. Like, you can have a little bit of emotion. Because imagine, yeah, imagine this post-chorus being, like, kind of, like, chill in the beginning, but by the last time she does it, na-na-na-na-na-na-na-na-na-na-na-na, and she just, and it went off at the end. Yeah. Yes. Like, so it's one of those things that maybe not Kelly, but someone who could, like, put, not sing so much, like, in the falsetto, like, head voice situation. Yes. Less, less, less whistle and more, like, blaring horn in terms of...
00:28:32 --> 00:28:46 Yeah, yeah Give this to Jessie J Oh my god
00:28:47 --> 00:29:13 Okay, so the music video features multiple Rachels throughout this kind of like wonky apartment. Yes. Not my favorite music video because the shtick just gets old. Because I think they use that effect. So like literally right from the start of kind of the multiple Rachels and the zooming in on the various parts of the apartment and her doing different things. And so after the first verse, it's like, okay, well, that's the literally entire video.
00:29:13 --> 00:29:29 Oh, yeah, there's no reveal, like a grand reveal. Like, there's no build to it. Like, there's no story to it, really. I mean, yes, maybe you can piece a story together with what she's doing. Yeah. Because there's, like, the luggage. And then there's, like, you know, there's, like, different things that she's doing. But, yeah, I did not love the execution of this.
00:29:29 --> 00:29:59 Yes, but can I just say real quickly, let's get it out of the way. She looked stunning in the video, honey. Oh, yeah. One thing her face will do is face. That's right. But all jokes aside, though, I did like some of the little, I think when we were watching it together, I was like, oh, on the couch, it says lover, and then she picks it up, and it says over. Yeah. So moments like that, I think there is, for it, the technology, the editing, the direction of the time, not bad. Like, she drops a pillow, and then her at the bottom, the first level catches it. So there's moments here and there.
00:29:59 --> 00:30:19 I do agree with you in terms of the reveal just not being there. It's just, it's kind of like, here she is inside this apartment. Here she is again. And she's going to keep appearing. So I was like, oh, dang, there's no reveal. And then, yeah, there's a moment here and there where you're kind of playing like, which one of these are not like the other. You're kind of playing like, you know.
00:30:19 --> 00:30:30 certain set pieces change to make it a little bit interesting but yeah yeah yeah it's not a bad video i do appreciate the concept
00:30:30 --> 00:30:57 I do wonder what would have happened if she was a lawyer in a room instead of like a girl heartbroken in an apartment. When I see videos like this, it reminds me of Miss A's... Only you when they're in their apartment. I love apartment music videos. I just can't help it. But yeah, this one, not a bad video. But I think because everything is so muted, she's not wearing any colors that pop. Like she just blends in. And then the shirt she's wearing is also nude. I'm nitpicking like really badly. But like looking back on it, it's just like...
00:30:57 --> 00:31:19 Oh, she looks really good. And the video editing, I don't hate. But also the magic starts to kind of like fade a little bit. But I do appreciate the concept of having me like having different Rachel's around like which one is doing what each time you watch something new is happening. So, yeah, I just don't think the execution was great. Yeah. And then the choreo. These performances are not great.
00:31:19 --> 00:31:33 they're not fair to her at all and it's not her it's not her at all she is getting face like she's trying to you know yeah give uh but yeah just the musicality of these of these dance moves it's very odd yeah
00:31:34 --> 00:31:49 Like, whoever choreographed this, it just feels like they phoned it in a little bit. Yeah. Um, you know what? I feel like this person's trying to hit all the drums. Like, in the chorus, they're doing, like, this little shaky-shaky thing. Yeah. And it was a head move. I remember watching that and being like, whoa, whoa, what was that?
00:31:49 --> 00:32:06 What was that? It was weird because they're snaking. Yeah, she has to do like chest pops too. Yeah. Whoever was choreographing was trying to hit the jump because it's all so sharp. I think, yeah, it's not great. She looks great. Not my fave. Not my fave. Yeah. Okay, so I give this one a seven. Okay.
00:32:07 --> 00:32:36 I actually don't like this song too much, but I gave it a 7.5. Not too far away from you. 7.5. All right. Up next is All About Me. And this was done by Fraser T. Smith, Robert Smith, Simon Gallup, Porrell Thompson, Boris Williams, Lauren Tolhars, and Roger O'Donnell. And you will recognize a lot of these writers because the song features a sample of a lullaby by The Cure. And it's also listed as It's All About Me on streaming, but the it's should not be there.
00:32:36 --> 00:32:54 So yes, all about me. We love a Cure sample. That's fun. Yes. Bold. Very bold. Bold for her, for sure. I love it. I will say, and someone can correct me if they have the CD, but...
00:32:55 --> 00:33:09 It's a very muffled master. And maybe, like, it kind of sounds like a radio rip, you know, from back in the day. Oh, yeah. But maybe that was intentional. Like, maybe it was supposed to add to the moodiness, and it was supposed to be one of those, like...
00:33:10 --> 00:33:35 walking in the rain situations or staring out the window while it's raining kind of situations because it does feel like that. So maybe they wanted it to kind of sound like a radio or something. But yeah, I do like the moodiness of this a lot. This is one, another one that kind of grew on me as I kept listening to the album a lot more. The chorus is very catchy. I like the kind of robotic backing vocals. Yeah.
00:33:35 --> 00:33:53 And the core sample is awesome. Yeah. Like it does make it sound quite cool. Yeah. And again, here is where the emotionless vocal does work. Right. Because it's kind of the lyrics are kind of like you just kind of processing and you don't really know how to feel. Yeah. So I like this one. I think it's a cool track for her.
00:33:53 --> 00:34:11 Yeah, I think it's a lot less about, if you were to perform it, it'd be less about the dancing and the shaking and hitting every drum. So I think, again, this is another, wow, she has some depth on the album. The guitars are there, the drum pad crashing.
00:34:11 --> 00:34:38 It's not a drum pad, but it just sounds very, like, electronic, which is good. So it still maintains the whole, we did this on a pad and synth situation. I like that she's the narrator of this romantic encounter, where from Sunday to Tuesday, the guy seems great, but then after that, he was gonzo. Messed up as heck. But then it turns out that the girl is her, and it's interesting because she is taking stock of all the crap that has happened, but then she's also, like...
00:34:38 --> 00:34:56 you know, I'm ready to prioritize myself. Like, but I wouldn't mind if I were with you. Like, that would be nice too. Like, why can't I have both? I would say that the chorus is not my favorite. It's okay. Like, it does what it needs to do. But for me, it's okay. Um...
00:34:56 --> 00:35:12 But yeah, I think lyrically verse-wise, I like it. It's relatable. A line that stood out was, he said, he's been busy. And she said, don't worry. I was like, oh, raise your hand if you've been there before. I've been, I'm busy. Or raise your hand if you've been the one that's quote unquote busy. Yeah.
00:35:14 --> 00:35:40 But yeah, I mean, I think everyone's kind of been there. I like the bridge. It has a lot of attention that builds there, but then it falls away a little disappointingly at the end. You know what I'm saying? The bridge actually kind of builds nicely. But then at the end, she's just like, it's not terrible the way it ends, but it's only one of those things where it's like she doesn't have the vocal chops to go more powerful. Yeah.
00:35:40 --> 00:36:04 Yeah. So it's not terrible. It's satisfactory. So I feel like it's still emotional. It still has a little bit of like, what's the word for it? It's believable. Like she didn't get lost in the sauce of the song, so I appreciate it. Yeah. But yeah, the melody is good in terms of the song. Lyrically, it's okay. But I think as on the album, it does stand out. So yeah.
00:36:04 --> 00:36:26 I actually gave it a 7.5 But I do like the cure sample as well So I'm willing to bump it up to an 8 Okay, I will go 8.5 I like this one This next one is Secret Garden This was done by Johnny Douglas and Karen Poole Who we love And I think you love as well Because you know what they wrote, right?
00:36:27 --> 00:36:53 Wait, is it Kylie's song, no? Yeah, you know which one. Or they've written a few, but you know which one. Stop, no, hang on, recently? Is that what I'm thinking of? No, stop, hang on, recently? It's one you really like. Chocolate. Oh! Oh, sorry. Oh, no. For everyone at home, I muted that for your sake. I'm so sorry, I screamed.
00:36:57 --> 00:37:27 I do like the song quite a lot. It's twinkly. There's a dreaminess to it. There's a darkness to it. This is literally the wood nymph concept that I mentioned earlier. This song is pretty perfect for Rachel's tone. Because it does sound like she's enticing you into her secret garden. You know? It gets very breathy. It definitely is giving Kylie. For sure. Yeah. Especially now that you know that they wrote Chocolate as well. Chocolate, yeah.
00:37:27 --> 00:37:45 But I feel like this is one that I could envision the music video. Yeah. Like, it's just such a clear concept just in that title alone. And this is one I look forward to every time it comes on. I really like this one. Yeah, me too. You're right. So you're like running through the forest and like...
00:37:45 --> 00:38:08 Uh-huh. In slow motion. Yes. Now that it all makes sense, this is definitely the most ethereal track for me. I do have Kylie Minogue in my notes. It's just so funny because I was like, okay, yeah, yeah, yeah. You can totally hear it. Yeah. It's so funny. Yeah. In a good way, though. Like, Rachel doing this kind of really breathy, airy thing is great.
00:38:08 --> 00:38:24 Yes, I think so too, because they really do play with her falsetto, her head voice a little bit here because she kind of, there is one note that I don't really care for. She says, I gave him to you and I knew heaven was right there. No, no.
00:38:24 --> 00:38:42 No, there's something that she says. You're a trigger for me. I'm a sucker for you. Nothing can stop this feeling. And there's an effect on it that is a little bit strange where like her... It's not like the vocal corrector was trying to snap her vocals into place. That or an effect was put on it. But it sounds kind of like...
00:38:42 --> 00:39:08 manipulated there. And I'm not sure if it was on purpose or not. I don't hate it, but when I heard it, I was like, hmm, interesting. But again, past that part, I do think it's interesting that they're playing with that breathy head, you know, falsetto situation. The lyrics are sultry. They're mystical, you know? I gave in to you and heaven was right there. You know, they're having private kisses that stung her lips. I'm like, okay, bumblebee. Yeah.
00:39:08 --> 00:39:31 I think the drums revving us up for that chorus is fabulous. And I'm not sure if you've listened to any of Addison Rae's singles or album or any of the listeners have listened. If you're new here, we don't really do like the contemporary, like modern. It sounds weird. We do a lot of legacy artists or like older artists and stuff like that. But I was listening to Addison Rae's album this past Friday and this would fit right on it.
00:39:31 --> 00:39:54 So if you do like this song, Secret Garden, Addison Rae's album really leans toward this whole kind of like retro, breathy kind of sound. The song would be really good on that project. But yes, this song is fun. It kind of has like an 80s feel to it, too, because of the drums, which I absolutely enjoy. And I love that this song is not actually about gardening. I think that's great. Yeah.
00:39:55 --> 00:40:23 Put your green thumb in me, baby. I love that for her. Oh, yeah. Yeah, I love this. I like this song a lot. Mm. Yes. Yeah, I give this one a 10. Yeah, this is my first 10 on the album. Yeah. Yes, my first one, because there are some other ones. Oh, really? Yes. Nice. Up next is Nothing Good About This Goodbye, and it was done by Brian Higgins, Nick Kohler, and Alexis Strum of Xenomania. This was originally planned to be a single from the album, but plans were scrapped.
00:40:28 --> 00:40:49 one of these conversations in these rooms dang it I think it was I think the album didn't do too well so I think the plans just kinda they were like there's no saving it anymore unfortunately cause this song had the potential to save it cause I love this song I think it's so good like I do obviously it's Zenomania so I automatically think Girls Aloud but I was like
00:40:49 --> 00:41:16 this really could have been a girls allowed song. Like imagine Nadine singing. Oh my God. Yeah. Yeah. Yeah. Cause the chorus is so good. Yeah. A really, really nice melody. Very easy to sing along to. I do think it screams radio to me, like especially at that time. And then production wise, I love how in the second verse, it gets very funky suddenly. Cause the first verse, it's kind of ethereal and kind of dreamy.
00:41:16 --> 00:41:37 Yes. But then it gets clunky and you get guitar and the bridge as well. So yeah, just great production from Zenomania as always. Yes. And Rachel sounds great on this too. She's also giving a little bit more here, especially in that second verse. You get a little bit more dynamic there. Yes, she does. I do wish there was a little bit more...
00:41:38 --> 00:42:06 I don't know if it's sadness, just melancholy, I guess, in her vocal delivery. Because I think it's very present in the production. Yeah. There is an inherent melancholy in the production. And I feel like her vocal is a little bit blank during some of this. But, you know, I'm just nitpicking at that point. I think the song itself is so good. Yeah. I think this has like an icy electro armor around the heartbreak that Rachel is kind of, you know, feeling. Mm-hmm.
00:42:07 --> 00:42:29 We can keep saying like, you know, it's part of the vocal or vocal tone to have this, you know, stylish crying to your pillow kind of vibe. But I do agree. I think it does need a little bit more of a I can tell where your influences come from kind of feel like, you know, if someone listens to a certain kind of like if they're listening to like R&B or listening to pop music or if they're listening to like bass.
00:42:29 --> 00:42:52 ballads a lot of time or like sad girl guitar acoustic you can kind of hear it in their voice you can hear their influences in their voice and for this one i think it did need a little bit more emotion um i also have a note where a second verse production is funky and i think it is the production that really gives me the that i need the melody is fun i can hum it back to you um
00:42:52 --> 00:43:19 I think the intro of the song is interesting. Everything about the song is very interesting. The intro sounds distant and kind of nonchalant. And then the synths come in and then the sadness is kind of gone. But the chorus, it's back again. Second verse, it's funky. Chorus, the bridge, everything falls away and then builds back up for this little guitar solo moment. But yeah, I feel like the song would have been good with some ad-libs at the end. Because it was a little dry after hearing the chorus again and again and again. That's fair.
00:43:19 --> 00:43:41 But aside from that, it's not bad. It's giving heartbreak anthem of a very rich woman who looks stunning while mourning over her lover leaving her. But she's still like she didn't sign a prenup. So she's set, you know. Love that. Love that concept. I will say we do have a kind of random morning TV lip synced performance of this track. Random. That's crazy.
00:43:41 --> 00:44:07 I will say she's quite a good lip syncer. Shoot. You know what? Lip syncing is not easy. Yeah. As a person who's terrible at it, it's not easy at all. So kudos to her. Yeah. At least they tried to promote it, I guess. They tried. And they gave her a fake band so she wasn't just like alone on stage. Yeah. It was an effort. I appreciate it. Yeah. So this one is another 10 for me. Oh, respect. I give it a 9.5. I'm not far behind, but I think those little things, I couldn't give it a 10. Okay.
00:44:07 --> 00:44:28 Moving on to Some Girls. This was done by Richard X, Hannah Robinson, and Pete Hoffman. And this was originally released as a charity single for Sport Relief in 2004. And the track hit number two in the UK singles chart and was originally included on the reissue of Rachel's debut album, Funky Dory. And then it was then featured on the Come and Get It album.
00:44:28 --> 00:44:52 And Richard X has described the song as a pop record about a pop record, a satire disguised as a chart hit. And it was awarded the Pop Justice 20 quid music prize for best pop record in 2004. And a great fun story that we love in pop music lore prior to Rachel recording the track. Jerry Hallowell, a.k.a. Ginger Spice. Yes, yes.
00:44:52 --> 00:45:19 She heard the track. She wanted the track for herself, but Richard X denied it. He did not think she would do it well. He wanted the blankness of Rachel's voice because he wanted to emphasize the song's satirical edge. Yeah. And allegedly, he said in an interview, that Jerry locked herself in a car and cried in protest outside the studio. What? He's embellishing. I don't think so. Oh, I think so.
00:45:19 --> 00:45:45 I think you guys don't ruin the pop lore. Oh, okay. But like, she sat there and cried. That's for wild. You can write better songs, girl. It's okay. Cause to be fair, if Jerry did this, she would do a very cheeky vocal delivery for it. So if he wanted the kind of satire of it to be more subtle and to almost have a kind of robotic delivery, it makes sense.
00:45:45 --> 00:46:05 That's so valid. I'm not mad at it. It's just really funny. You imagine, you're like, I hate you. I want the song. I just want to get out the way. I don't know if you hear it, but I hear Goldfrapp's Strict Machine a little bit. Oh. I hear a little bit of Goldfrappy in here. I'm not mad at that. I'll say Goldfrappé because it's a little sweet. It's a little, you know, a little...
00:46:06 --> 00:46:28 Um, because it's talking about the girls wanting to be, it's like a very meta pop. Like, I want to be famous. Why are you not making me famous? You promised you'd make me famous. Um, I think that the first line, my baby drives the car. Hey, he calls me when he wants. Hey, like, it's so silly. Like, the verses for me, I feel like don't make complete sense, but it's all part of the whole, like,
00:46:28 --> 00:46:57 I'm just a girl kind of situation. But this is kind of like saying that some girls go a little too far with the I'm just a girl thing. And they want things to be super easy. And like, I have this and I'm going to be famous. I just exist. And I'm supposed to be just like worshipped. And like, why haven't you signed me yet? And yeah. That's interesting. You took it that way because I took it a different way. Oh, really? Okay. When I heard it, I was just like, I was kind of, I don't think in a bad way. Like, it's not bad if you want to just get paid to exist. I'm just saying some girls do. I think it's more about sleeping your weight at the top. Oh, yeah.
00:46:58 --> 00:47:16 I think this is about the nod to like the sexual politics and kind of the power imbalance in the music industry and entertainment industry. Because it's about all these women that are being promised the world that they have to play the game. Yeah. Right. So she's like pretending to be enthusiastic about this man that she's sleeping with. I'm in tears. Right. That's how I took this.
00:47:18 --> 00:47:47 That's valid. It has a little bit of a sleaziness to it. That's why I'm like, no sleazy, hypnotic, I think because of the way she's singing it. And it's unapologetically manufactured. You know, it has that like, you know, it is literally about sitting your way to the top, but it's too catchy to be scandalous. Like my notes are very much leading to what you're saying too, but I was just listening to it and I was like, when I first heard it, I was like, oh, my baby drives a car. Hey, like it didn't sound like...
00:47:47 --> 00:48:12 It sounded like a ditzy girl. It didn't sound like, oh, I'm a victim of the system. Well, I think that's the point, right? I know. So, yeah. But again, it is catchy. Too catchy to be scandalous. It was like a little sleeper cell. It's like, hey, here's a story here. The video is... I cannot with the video. This is a video where she's coming out of the sewer, right? Yes. Yeah. Oh, my God. I hate that teenager. And back into the sewer at the end. Yeah. They reversed the first shot. And I was kind of annoyed.
00:48:13 --> 00:48:30 They reversed the first shot. And I was like, what the actual heck is going on? But yes, when I, I get what you're saying about it being kind of like sleazy. That sucks. I'm glad it never has to happen. Like to me, it hasn't happened to me yet. Like not yet, but it just hasn't happened. That's too much. Like, yeah, town's not enough.
00:48:31 --> 00:48:55 It's not, unfortunately. Not an entertainment. Yeah, I think this is a cool track. The production is great. Again, you got that kind of glam rock vibe to it while still being very electro pop. There is this male vocal loop at the end. Ooh, it looks like this weird, like, low bassy thing. It's kind of creepy, kind of funny, kind of creepy. And I think maybe that's the point.
00:48:56 --> 00:49:21 um who's that we don't know oh my god um yeah i can see why this is one of her signature hits like it's interesting it's memorable yeah i love that it was released as a charity single when it's about what it's about and the choreo is fun you know it's very feminine it's cute it's sassy it works i'm here for it i get why this was a hit
00:49:22 --> 00:49:37 I hate the choreography for the chorus. I can't lie. It's the flapping of the leg and then the arm. Yeah. Also, if I'm not mistaken, the verse choreographies repeat, right?
00:49:38 --> 00:49:59 Yeah. Oh, my God. That's hilarious. She deserves it. I'm kind of mad at it. Because, again, I'm thinking, like, robotic. Yeah. That makes sense. Just another girl. Manufactured pop girl. Yeah. Yeah. That's what I was getting. So I was like, oh, it works. Yeah. You know? Yeah. I respect you, like, you know, saying that. But I remember watching. Again, just me doing, like, the first glance of everything. These are, like...
00:49:59 --> 00:50:24 what I'm saying, like, bam, I saw this or I heard this and I thought, oh, she's kind of making fun of. Meanwhile, it's sleazy. Oh, I hate that it was dancing. Meanwhile, it's meant to look very like we are a factory of women and we're all wearing the same clothes. Like in the video, we're all following the trends. So, yeah, I think it's cute. I think it's very cute. What score did you give it? I give it a nine. I have a nine, too. Cool.
00:50:25 --> 00:50:38 All right. Up next is Je M'appelle. And this was done by Damien Legacique and Sherry Poole. I don't know if that's how you say his last name, but I'm going to assume. Yes, that was close, I think. Legacique. Okay.
00:50:44 --> 00:51:01 Yeah, well, first off, what stood out the most to me is that in those verses, we have a lot less vocal effects. You get a much purer, rawer take from Rachel's vocal, and she sounds great. There is kind of an emotion there. There's a mysteriousness.
00:51:01 --> 00:51:27 in that verse or in those verses and then the chorus it suddenly switches up but it gets very flirty and kind of fun yeah so yeah definitely a memorable track more of a more experimental one yeah for sure which i'm here for like if you're doing kind of a pop album like push the limits a little bit i think that's always good yes i will say her vocal especially in the third verse i would like to shout out yeah it's very good you get you do get some vocal fry in there just some dimension
00:51:27 --> 00:51:47 Yeah. And again, because there's not as much vocal effect on it. It's more noticeable there. And then, you know, up to the final chorus, we get kind of harmonized build. And then you get an acapella almost belt. Yeah. Get a moment. We get a moment. Yeah, I think this one's a highlight on the album. It's memorable for sure.
00:51:47 --> 00:52:16 The song literally is like, stop being so shy and come home with me. But the song does that itself. I think that's so fun. It's one of those things where I listen to it and I'm like, I appreciate that the songwriters were playing with the words that sound like the song that they're playing with. If the song has all these dynamics, why not write according to them? Why not give the attitude where it needs to be? Because sometimes you'll get songs and you're like, who just threw on their diary pages on this track?
00:52:16 --> 00:52:43 You know, this doesn't feel like that. The post-chorus woes sound like sirens luring you into the island. Je m'appelle Rochelle. Okay, Rochelle. Okay, girl. You going in, Rochelle? Rochelle was eating it up. The bridge is fun. The drum actually changes a little bit. It kind of feels like, I don't know what the rhythm is. I don't want to say something wrong, but it kind of gave a little dance hall moment. It was like a dance hall light. Yeah.
00:52:43 --> 00:53:00 and like straight up but something about the drums kind of changed just enough for me to go oh what's this and then when we got that pseudo huh you know the belt moment i'm not gonna do it but yes this made me go i'm gonna have to listen to this album again let's do it yes okay so what do you rate this one
00:53:00 --> 00:53:29 The song should have gotten a video, okay? Should have gotten a video. I give it a 9.5. It's not a 10, but it's close for me. Okay, I give it a 9. Yes, very good track. Yes. Okay, moving on to Funny How. And this was done by Brian Higgins, Lisa Cowling, Miranda Cooper, Nick Kohler, and Tim Powell of Zenomania. And Rachel Stevens. We finally get a Rachel Co. right here. And, as I mentioned, this is the only one, I think, on the album that has her as a co-writer.
00:53:34 --> 00:54:02 I like this song because like, I always tell people, a little fun fact about me, when I go on dates, I can never get past three dates with people. Like if it doesn't, nah, I know it sounds so weird, but for whatever reason, things start to go funky on the third date with any guy I've been out with, right? I'm always like, oh, something's gonna happen, or like, mm, something's gonna go right, or like something comes up that I was worried about before, and I was like, hmm. So when she's like, funny how, you know, she always knows when it's over, and I'm like, yeah, me too.
00:54:02 --> 00:54:12 So this one speaks to you. Oh, heck yeah. So the score might be weighted differently.
00:54:15 --> 00:54:43 the value of the score has suddenly... You know, I'm joking. But no, I heard it and I was like, dang, girl, you know? I think everyone kind of has a sense of, like, the intuition, whatever you want to call it. If you want to call it, like, a sign. But there's always something that tells you, yeah, you're not right. And the best thing about this is that she's not sad about it. It's more just like, god dang it. I knew it was going to happen again, but, you know, trying to give you a chance here. Because at the end, she's like, take these fools away from me. I was like, girl...
00:54:43 --> 00:55:08 Me too. But yeah, I love that first verse where she says, what I want, what I need is an extraordinary love. So it's one of those songs where it feels like a disco-y crying in the club moment. But she's not actually crying. She's kind of just like, girl, yeah, no, I dumped him. What? What? I thought he was great. Yeah, I thought he was great too. But, you know, I had a feeling. You know, it's one of those, you know what I'm talking about, where you're like dancing and having a conversation with your friend in this way. Yeah.
00:55:08 --> 00:55:31 That's what the song feels like, which I appreciate. It doesn't feel like ice cream on the couch. And the bridge, honey, I was not, I don't have to complain about, like, the bridge needs a little bit extra this and a little extra that. I don't mind that the bridge didn't really have anything going on vocally except, like, a repeated kind of phrase. But I enjoyed that. I do. I wish we did get a little bit of something happening there on that bridge. Yeah, yeah.
00:55:31 --> 00:55:46 for like a built-in dance break. But aside from that, I don't mind her not going off. I love that she's not willing to settle in the song. And she does sound very like nonchalant. So it fits the whole, like I'm not heartbroken. I'm just like, again. So yeah.
00:55:47 --> 00:56:08 Yeah, I think that's why I'm kind of good with this because it's just kind of slinky and like she doesn't want to try that hard. You know, so I think it's actually okay that this doesn't have like more kind of trills and stuff in there. I really hear Girls Aloud in this one for sure. I hear Kylie. Really? No, especially in that pre-chorus. I'm like, this is Nicola or Sarah.
00:56:09 --> 00:56:33 It's valid. It gets kind of soft and thin. I'm like, oh my gosh. And I, of course, I might just be biased because I know a Xenomania. Yeah. But, and I'm a Xenomania stan, clearly. That's valid. Yeah, this one's great. Like, I love it. It's just bouncy and it's just, you know, great electro pop production. Again, there's that kind of melancholy there. So it is that crying in the club kind of situation. Yeah.
00:56:33 --> 00:56:49 And yeah, I think the chorus is just really good. Yeah. Really, really good. Like, this is a clear standout to me. Mm-hmm. And I give it a 10. Yes, this is my 10 after Jim Appel, which is, again, the track listing is not bad here. So we like this.
00:56:49 --> 00:57:09 Up next is Every Little Thing, and this was done by Jules Instone and Rob Davis. And this has been noted as a UK bonus track, but it is on every version of the album. So bonus for us, I guess. The song was originally recorded by Gareth Gates for his third album, but was ultimately not used and given to Rachel.
00:57:14 --> 00:57:38 Yes, this is an interesting one. Like the production is so bubbly and happy, but then the chorus is about a relationship, you know, that just isn't working. I guess the lyrics are just about that. Yeah. So just an interesting juxtaposition there. Yeah. There's a very, I hate this word, so I'm sorry I'm saying it, but there's like a squelchiness in there, in the production. Oh, squishy. So you look squished. I think squelchy. Squelchy.
00:57:39 --> 00:58:05 It sounds wet. Right, exactly. Something sounds moist in this track. That's why it's not just squishy. It's a moisty track, yeah. And then the backing vocals sound kind of like a church choir. You know, so just like, in terms of production, it's very interesting. I don't think Garrett's version has leaked, but he has a great voice. So if someone has it, I would love to hear it. Please send it to us. That's hilarious. I'm just curious if his version was the same. Yeah.
00:58:05 --> 00:58:22 Yeah, and then also, wait, we get a guitar solo-ish kind of thing in the middle, too. It's, like, not really guitar solo. It's, like, kind of one. Anyway, production, very odd. I will say the chorus is a very fun melody. This one is sung quite...
00:58:23 --> 00:58:46 there's just not just no power yeah lethargically it's a great word oh my god yes very lethargically and i feel like if she's saying it with a bit more power it actually emphasized the kind of sing-along ability of it because i think it has that potential it has a string to it that is just not being swung yes so i feel like this didn't hit its full potential but i appreciate the experimentation in the production
00:58:46 --> 00:59:04 Right, right. Yeah, I can agree with. Yeah. I was like, this is one of the, I was like, this is one of the albums with more sentimental numbers. It's not sentimental whatsoever, but it's one of those like, I understand. I mean, the lyrics kind of are. Kind of, right? That's what's strange about it. It's like a mid-tempo ode to being complete opposites.
00:59:04 --> 00:59:17 these two are incompatible, but that's why they're attracted to each other. Opposites attract. You hate, you drink tea, I drink coffee. I mean, I don't think any song about opposites will hit as hard as...
00:59:17 --> 00:59:37 Black and White by Gina, obviously. The K-pop queen, I'm joking. If y'all know that song, please drop in the comments if you know it. But no, I think, obviously, the track by Paul Duhal always kind of encapsulates the whole, like, it shouldn't work, but it does. This one, I agree with you, could have been a very, like, can you imagine the step singing it?
00:59:38 --> 01:00:06 Oh, interesting. Like, especially with the churchy kind of sound. The da, da, da, da, da, da, da, da, da, da, da, da, da, da. Hey. I'm not mad at that. You know how to make breakups sound happy. Like, this sounds like a step song in that sense. Is that a step song, really? But it could have gone there. It could have. It could be. Claire would kill that chorus. Oh, I know. Da, da, da, da, da. She would have fell in her face at all.
01:00:06 --> 01:00:27 Claire I love you we love you we both love you yeah but yeah I think that's the thing I like this song because of what it could have been um it's not a bad song um she says that she's her lover's fantasy and he would do anything for her the bridge is also a moment I said I liked too because of the guitar
01:00:27 --> 01:00:50 But yeah, the choir is hilarious. And as you mentioned it, what are y'all doing? I'm not mad at it. But again, now I'm thinking about it, Steps would have done something with this, with a little cartoon. Every little thing. Yes, you're totally right. Love that. Not justice for Steps. They all got justice. But you know, more songs for Steps. More songs for Steps, yes. So I give this one an eight. This one an eight. Oh, okay.
01:00:51 --> 01:01:08 I have it at an eight with a period. I think I was going to give it a 0.5. I think I was because I have just a period, but I gave it an eight. Okay. If I didn't finish it, it's an eight. You changed your mind in the middle of typing, yes? That's hysterical. Maybe for the steps thing, I'll give it a five.
01:01:08 --> 01:01:35 Okay, so moving on to the final track on, I guess, the standard version of the album, even though this one's also noted as a UK bonus track. This is Dumb Dumb, done by David Erickson, Jay Valentin, and Tom Nichols. Hello, Dumb Dumb. This is giving, like, it seems like Secret Barbie Shade, but it's not. I thought it was Barbie Shade when I heard it. But I think it's playing along with...
01:01:36 --> 01:02:00 It's playing along with the some girls thing where it's just like this woman is kind of playing up the whole like she's you. She lets you think she's acting kind of stupid. She looks good in pink, but she knows how to use it. It's all about the girl playing up a simple mindedness, simple mindedness to get what she wants or maybe just to find love. Because sometimes you have to kind of play dumb and not play like I'm so like I can take care of myself.
01:02:00 --> 01:02:27 let someone take care of you. So it's like, my life will be set kind of thing. But yeah, the song is kind of secretly sad. Like the tears kind of explode in glitter because the girl, the second verse just reveals that she's actually really just lonely and sad. But it's not Barbie shade like I thought. Like I was expecting some bubble cum pop with this, but it actually burns. It's like a spicy stick of gum, like a fireball in the mouth. It's still candy.
01:02:27 --> 01:02:49 It's still kind of giving pop. It's still kind of giving a little bit of sweet, but there's a spice to it. But it's like a sad spice that makes you cry. But I think because the song kind of sounds fun, it's deceptive. I like the little, the ah-ahs that she does. The ahs. The oohs and ahs. The strings and the bridge make it fun, and then it ends with the breathing. Yeah.
01:02:49 --> 01:03:04 Yeah. Okay. I don't, I don't know. Okay. Yeah, I'm here for the breathing. Yeah. Why is it there? I don't know. I don't hate it. I'm not mad at it. I don't hate it, but like it's like, why is it there? Why is it there? Why? Why is it there? How does it fit into the song?
01:03:05 --> 01:03:30 Oh, that I don't know. Okay, thank you. That's my thing. I was like, why are you there? I'm not mad at it. It makes it, it's just something different, I guess. True. I think the bounciness in the production is great. I think her, again, her vocal execution here, there is some dynamic here. Like, especially in that pre-chorus, it's quite, it's very good there. Yeah. I think the chorus is catchy, but I don't know if the dum-da-da-da,
01:03:30 --> 01:03:46 is really enough of a hook. You know, it just doesn't really go anywhere. Like it almost feels like there should be a post chorus or something just to give it a bit more of a climax or just to get the song a bit more of a ride. Um,
01:03:46 --> 01:04:08 I think especially as it's the end of the album, it does feel a little bit like, okay, this one is a bonus track. Yeah. Like, it doesn't really fit. Like, I feel like every little thing is the last one. Yeah. Or I guess even if Funny Howl was the last one, it works. I think this one does feel a little tacked on. And maybe listening to it on shuffle, I may think differently, right? Oh, okay.
01:04:08 --> 01:04:23 But yeah, this one's just kind of meh for me. Me too. Me too. It's on the road. I give it a 7.5 because I don't hate it. And I like the whole kind of like not secret Barbie shade. I give it a 7.5. Okay, I'll give it a 7. Yeah.
01:04:24 --> 01:04:40 Okay, so that is the end of the standard album, or I guess the UK version of the album for those bonus tracks. Right. There are other songs from this era, though, that were B-sides on these singles. So if you want to hear us discuss songs like Never Go Back,
01:04:40 --> 01:05:06 and waiting game and queen and spin that bottle, you got to come join us on Patreon at patreon.com slash cctvpops because it is an exclusive episode only for our producers, PAs, and operators. That's right, for the patrons. Yes. So let's get to our cut or keep section. Oh, shoot. Okay. Wow. Yes. Okay, so...
01:05:06 --> 01:05:24 cut if i had to cut a song off this album i mean it would be dumb dumb but because it's labeled as a uk bonus track i'll pick something else okay respect and you know what i actually would pick negotiate with love oh it just isn't one i go back to
01:05:24 --> 01:05:40 You know, after looking through, even though it's on my lower scores, there'd be like the weaker songs of the strong track. So it would not be fair. So I will imagine Negotiate With Love probably is the weakest track here on the body of work. The song I would keep, though.
01:05:40 --> 01:06:10 Honey, the song I would keep is Secret Garden. Ooh, yeah. That's up there for me. Okay, if you choose that one, I'll choose Nothing Good About This Goodbye. A single that never was. Zenimania production. It's so good. What could have been? This album surprised me. You know? I gotta be real with you. The album surprised me. I was expecting the songs to be so well chosen. Because, you know, with certain...
01:06:11 --> 01:06:33 oh, she's pretty cash grabs, it turns into this thing where it's like, yeah, her face will sell the records. Let's not worry about what the songs sound like. It feels like they actually did care enough to try to create a body of work. And if she did have a hand in selecting the songs, then good for her. She did only get that one credit, but I'm pretty sure she probably had a little bit of a yes or a no. And if not...
01:06:33 --> 01:06:53 Um, they did a good job picking for her. I hate saying that, but honestly, a lot of pop girlies I could hear singing the song groups. Like you said, you mentioned Britney. Um, I mentioned Britney a couple of times as well. Uh, but yeah, if we can readily make those comparisons, no insult, then I think it's a good album.
01:06:53 --> 01:07:12 Oh, yeah. Yeah, I'm also pleasantly surprised. I will admit, like I said, I'd heard the singles before. Sweet Dreams, you know, Some Girls. And while I liked the songs, it was never enough to compel me to dive any deeper. Right. So, yeah, I kind of went in here with
01:07:12 --> 01:07:29 kind of low expectations, to be honest. Yeah, okay. And I'm very pleasantly surprised. Like, I saved at least half this album. Oh, wow. Because I think they're really good pop tracks. It's a good representation of that time. Yes, do I think maybe these songs would be better with some more...
01:07:30 --> 01:07:50 nuanced vocal production. Yeah. You know, just to give it a little bit more sass, a little bit more texture, just a little, just give me a little bit more there. I think it would elevate a lot of these songs. Yeah. Yeah. But, you know, I appreciate, you know, Rachel and kind of what they were trying to go for with this kind of colder, you know,
01:07:51 --> 01:08:03 almost kind of, yeah, this kind of nonchalant, kind of almost robotic for certain songs, kind of situation. And her representing kind of all these pop girls that try to make it. Yeah. Yeah.
01:08:03 --> 01:08:26 When you look at some girls and her being the one that was the breakthrough kind of solo in S Club. Yeah. I think she did a good job. It is a shame the actual album didn't do too well. And I guess fans maybe put that down to negotiate with love, kind of ruining the momentum that she had at the time. But pop was also changing a lot at that time, too. It was in five, right? Yeah.
01:08:27 --> 01:08:57 Yeah. Yeah. Yeah, yeah, yeah. But yeah, I'm here for this album. I think it's great. I get why all the 2000s pop fans, British pop fans love this one and always point to it as one of the stronger bodies of work. Because there really isn't a bad song on this. No, I can't say I sat here and was like, oh my God. Right, we never had an, oh gosh, this song was a struggle to get through. We never had that at all throughout this whole thing. Yeah, that's cute. So saying that, I do give the album a nine. Ooh, a nine. Mm-hmm.
01:08:57 --> 01:09:22 It's strong. It is strong. I was thinking of an 8.5 only because of like the little things that I mentioned here and there. Oh yeah, a 9. Yeah, I think it deserves a 9. I believe you, but I'm going to stick with my score so I'm not too matchy-matchy. But yeah, I think an 8.5 only because of just like vocal things here and there and like a little bit of extra push I think she could have given it here and there. Nothing crazy. Um...
01:09:22 --> 01:09:41 Production-wise, songwriting-wise, it wasn't, you know, vapid and superficial. Like, it really felt like it had depth. I appreciate this album for sure. And again, it does sound like something that was released literally just this Friday. If you heard Addison Rae's album or even mostly Addison Rae's. And then who else was I listening to?
01:09:41 --> 01:09:58 But yeah, she has a summer playlist and it's a lot of the stuff that sounds just like this on this album. So it's like, it's kind of timeless in a way. Unless almost kind of, you know, reheat her nachos. She'd be a good person to reheat nachos for. She would. You know? Reheat her nacho, y'all.
01:09:58 --> 01:10:18 Okay, so fans. I don't know if there are Rachel Stevens fandom names. Yeah. So someone let us know. But let us know what you all think about this album. You can let us know in the comments below. Or you can message us at CCTV Pops. Or you can be awesome and join us and the crew on Patreon. Yeah.
01:10:19 --> 01:10:33 Don't forget to like, subscribe, and turn on notifications for our YouTube channel. And again, if you're on a podcast platform, please give us a follow, rating, and review. Until next time, that's Chantel. That's Chris. And we're signing off from CCTV, the nonstop pop show. What?