Chris and Chantel Nicole go track-by-track through All Saints' second album, "Saints & Sinners". Get ready for honest and unfiltered opinions - join in and let us know what you think of the album!
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"Saints & Sinners" Tracklisting:
- Pure Shores
- All Hooked Up
- Dreams
- Distance
- Black Coffee
- Whoopin' Over You
- I Feel You
- Surrender
- Ha Ha
- Love Is Love
- Ready, Willing and Able
- Saints & Sinners
References: “Pure Shores” Music Video https://youtu.be/dVNdTXEJv1A?si=MRDP1IE9f1kU97yc “Pure Shores” Live at TOTP https://youtu.be/Waly1chcTEA?si=-tfXhKC_LHK2tRro “Pure Shores” Live at World Sports Awards 2001 https://youtu.be/QtcTWNmqCHc?si=rGcOShWTceHyOO3C “All Hooked Up” Music Video https://youtu.be/qHC6wSwTUYU?si=POI5uzmujdL6PkfL “All Hooked Up” Live https://youtu.be/QWG1jBiCFFQ?si=NnhNDrhKLjXHHLKt All Saints in Concert 1999 https://youtu.be/py1NHoHZ7vM?si=IG2ZMM4tEjcOYG-p “Black Coffee” Music Video https://youtu.be/v0Xej6Sz5nU?si=mZhML3xUMdvqc4WO “Black Coffee” Live https://youtu.be/y8yRiWJ2A_w?si=2IBgqgQschtpMvl_ “Black Coffee” Live at Jools Holland https://youtu.be/7UQpQViMp0c?si=6zZo6U2ery11KvCo “Whoopin’ Over You” Live at Jools Holland https://youtu.be/1eafW0jx8l0?si=mNSCDVXgcF-Jh5Xu “Ready Willing and Able” Live https://youtube.com/watch?v=72atz7F3Kws
00:00:00 --> 00:00:11 This British girl group took us to the beach with their hit single, Pure Shores. But then it got cold and the group split up over a jacket. This is the track by track through All Saints' second album, Saints and Sinners.
00:00:14 --> 00:00:39 We have reached over 3 subscribers on YouTube. Yay! Thank you so much for joining the CCTV crew. And if you're on a podcast platform, make sure you give us that rating and follow because it really helps us grow and get into that algorithm. Right, right. And special shout out to our Patreon producers, Emily, George, Lily, Louis, Julianne, Janelle, Shaquille, Jonathan, Jasmine, and Darius.
00:00:39 --> 00:00:58 Come on, producers. Let's get it. You can also join our Patreon at patreon.com slash cctvpops and help us choose episode topics. And don't forget, we do have a free tier. So don't worry about that. Just join us over there on Patreon. Yes. Okay. So another All Saints episode. So we did do the debut album. Yes.
00:00:58 --> 00:01:21 So now we're on to the second album, which is definitely, I think, one of the more divisive ones. I'm very excited to hear what you thought, because for me, I obviously know this album very well. I grew up with All Saints. And yeah, it was an interesting one to witness as a fan, just because you could kind of tell that their relationship was kind of already a bit cold.
00:01:21 --> 00:01:42 Oh, okay.
00:01:42 --> 00:01:53 Because Nicole and Natalie were at Mel C's concert, and they sang To Become One with her. And Chaznay I got to see at a Christmas show in London. So...
00:01:54 --> 00:02:20 Melanie, that's all I have left at least. Literally at this point. So for me, I can't say I'm the biggest fan of the group. We did listen to their first album and I was like, oh yeah, this is really cool. So yeah, I mean, I do have broad taste in music. Of course, we talk about all that music on our show, but I think because they weren't super big here, I wasn't listening to them when I possibly could have. And like any kind of memory that I may have of like never ever, again, super vague, may have been in a movie.
00:02:20 --> 00:02:41 can't recall right so this one's gonna be interesting for sure and also there's some sounds on here where i was like i don't this ain't like the first album yes so yeah yeah so it's interesting for sure because i don't know if i can get through this one i don't know but then i did and the scores will surprise you out here people they're gonna shock you they're a little mad i don't know
00:02:42 --> 00:02:58 Oh, man, I'm excited. You'll see, because as we get through their discography, all their albums are actually quite different. Yeah. Their sound changed quite a lot by the more recent stuff. Studio One was like, what, like Scottish? Kind of reggae. Yeah. And then it gets into more adult contemporary kind of stuff. But yeah. Come on, guys.
00:02:58 --> 00:03:27 We're talking about the second album today. Word up. And it is Saints and Sinners, which was released in October of 2000. And it hit number one in the UK album chart and the charts all over the world. Yes. So with member Shaznay co-writing the majority of the tracks and contributions from members Natalie and Melanie, the album did mark a sonic departure from the first album. And it emphasized the contributions of William Orbit, which is the renowned producer of Madonna's Ray of Light album.
00:03:27 --> 00:03:44 Ah, yes. And in later interviews, many years after the release, the members spoke about the external pressures surrounding that second album at the time and alluded to the album not being their best work due to that. Though the promotions for the album were filled with tension and cut short due to the group's dramatic split, the album was a big deal.
00:03:44 --> 00:03:58 album is still certified twice platinum in the UK and contains some of the group's most well-known hits so like we mentioned we're going to go track by track and discuss the production vocals lyrics and give our ratings for each of the songs
00:03:58 --> 00:04:24 And first up we have Pure Shores, which is done by Chaznay Lewis, Susanna Melvoin, and William Orbit. And it was released in February 2000 as the official single from the Leonardo DiCaprio film, The Beach. And so Chaznay was shown a short clip of the film and wrote to Orbit's already produced instrumental. And she came up with the title Pure Shores after it was written, not even considering that it's not a lyric in the song.
00:04:24 --> 00:04:46 And the single hit number one on the UK charts and actually became the second best-selling single of the year 2000 in the UK, only behind Bob the Builder. And it was nominated for Song of the Year and Video of the Year at the 2001 Brit Awards. So start us off, what do you think of Pure Shores? Because I would say next to Never Ever, this is kind of their other kind of main signature hit.
00:04:46 --> 00:05:10 Mm-hmm. Yeah. So for me, it's like, I think only because of my own sensibilities in terms of music. This one, you would never ever, I was like, girl, girl, what's going on? I had to get into it. This is the same situation with this song. Like, is it bad? Is it good? That's up to you to decide. Depends on your taste. For me, I like that there is a world that's developed in this song. Yeah.
00:05:10 --> 00:05:31 I think that utilizes the four verse voices present. There's haunting vocals. The harmonies are super tight. The melody of the song is really hypnotized, like the I'm coming refrain, I'm coming closer. That's great. The allure in their voices are undeniable. The dream pop sound, the ambient kind of acid sound,
00:05:31 --> 00:05:53 electronic thing is happening right now is it fits their voices it fits what they usually they did in the first album and i feel like the ambience within the group and the overall sonics of the song is believable i think the instrumentation feels really dissonant and it gives me like a night time at the beach so i guess when whatever she was hearing regardless of the theme of like the movie
00:05:53 --> 00:06:08 Shaznay was thinking, I want to create some kind of thematic element here. And that was the water. That was like the cleansing. And I was like, okay, I'm here for that. The guitars in the track, really interesting to listen to throughout. And everything else...
00:06:08 --> 00:06:25 It's arranged and mixed in a way where I feel like I'm in Atlantis or something. I was like, it just feels really aquatic and really deep. And the concept lyrics overall of the sound and the song are well thought out. The bridge swells a great deal. It makes me feel like the stakes are a little bit more raised.
00:06:25 --> 00:06:55 I will say, though, it didn't catch me like, oh, my God, this is the song of the century. Can I swear people liked it? Absolutely. Like, this sound in the 2000s had the girls by the neck. So I can see why it was really popular. It's not a bad song. I don't know if I would have written it myself. You know, I know it sounds so strange. If you don't know me, I do song write and sing. But I don't know if I would have written it myself. And I think that's also a testament to Shaznay's creativity. Because this song is kind of...
00:06:55 --> 00:07:23 Not all over the place, but the structure is strange. You know, it only brings you back in when you're at that chorus. I appreciate that for sure. Now, you listened to it when you were like younger, right? Yeah, I was like 10. Right! Compared to now, like has your opinion changed? Like what do you think about the song overall? What did you think about then when you were like a kid? I actually like it more now, I think. Because I think there is something very... The whole kind of darkness of it, you don't really grasp that as well when you're younger.
00:07:23 --> 00:07:51 And also now that I actually know Madonna's Ray of Light album a bit more as well, and I kind of understand William Orbit's signature, you know, like dreamy kind of thing that you were just describing, I also understand why this song is so good. I will say back then, I remember I was watching the acoustic performances and stuff that actually got me into it, because I think melodically it is a really beautiful song, and it is really, really well written. Because especially with Melanie's voice, who...
00:07:51 --> 00:08:14 She can sound kind of very nonchalant. Oh, yeah. So there is just this kind of lethargic quality to the verses and that I'm coming kind of hook. Like it really, there's so much tension there. And then the chorus is where the intensity comes and there's kind of a euphoria to it as well. So I think just as a balance, I think it's pretty awesome.
00:08:14 --> 00:08:40 I love the kind of rockiness of the bridge that you were mentioning as well. I love how intense it gets. And then having Chaznay kind of do that third verse and then kind of do that extra. There's like two bridges here where she then does the I'm coming, I'm not drowning. And it's really building in and it feels like the waves are getting stronger and stronger. So, yeah, I think it was just really cool the way it's written because. Yeah. Yeah.
00:08:40 --> 00:09:07 it really does have that like unpredictable kind of scary, but calm, but it's just both sides of the ocean. Like it has the calm side and it has kind of the scarier side of it. And the movie itself is quite dark. Actually. I only, I've only seen it more recently. I had, I was way too intense for me as a kid. It's very bloody. It's quite a bloody movie. But yeah, I mean, speaking of the visuals, what'd you think of the music video?
00:09:08 --> 00:09:36 That video was so creepy. Before you get into it, actually, I want to shout out right back at you. Yeah. Because they discussed this era also a few years ago on their podcast. And I think it was David who said those nighttime scenes, like the night vision stuff. It's like when you watch raccoons on a nighttime CCTV. Oh, my God. And they're like in your trash. And I just always think that now when I see the Fear Shores video. So shout out to shout out to right back at you.
00:09:36 --> 00:10:01 That is brilliant because literally they do look like creatures in the night. And I mean, if you are into the whole like idea of sirens and them calling you to drown you, that's what it gives. It's giving like they're calling you, they're passing the camera. It almost reminds me of, I know where it's at when they're like kind of walking in the beginning with that white screen. But this time it's just a lot more eerie. And you have Melanie just staring at the camera like she's trying to...
00:10:01 --> 00:10:23 you know end your life so it's just it's really unsettling there's like a spotlight there's something very dark about it and um obviously there's like interpolations with the movie here and there yes that kind of you can't do much with it i just feel like it was a little bit of a rush job whatever no problem it definitely stands out because i have never seen a video like this in my life yes it's yes definitely memorable yeah yeah yeah
00:10:23 --> 00:10:47 I mean, I think it's effective. Yes. Again, there is an eeriness to the song. Yes. And a darkness to the movie. So them doing kind of this weird, creepy music video kind of works. I do think it's funny. They mentioned that they obviously filmed this like in the dead of winter in some beach in England. So they were like, it was like, you'd think if they'd let us go to some beautiful tropical beach, but no. They were not having fun. Yeah.
00:10:47 --> 00:11:14 Sit in front of that camera and shut up. And then speaking of the performances, I mean, it really is the acoustic ones that really stand out for me. And so that final performance before, like right after the split at the sports awards, it's so funny because they sound so good. I mean, Natalie's definitely trying to over-sing everyone because she's like, I need to be heard at this point. Right, but...
00:11:14 --> 00:11:43 They still sound amazing. So, yeah, kudos to them. Like, the blend will always be there, at least. When you're talented. But, yeah, that live performance at Top of the Paws was wild because I don't know who was bouncing with the somber track with them swinging arms. Oh, my gosh. Lots of weird arm angles and stuff. Oh, my God. Get me out of here. Like, that was too much. I enjoy the reach and then the little spin. That's probably my favorite part.
00:11:43 --> 00:12:10 They're all laughing at that point. I don't know. Yes. Yes. I will say fun fact for the very nerdy fans. They did actually switch up who did the harmonies over the years because Melanie used to take all the highs, but her voice got much lower as they got older. Yeah. So Natalie now takes the highs. There's also some performances where Natalie, she sang the second verse. So yeah, there's a couple of different arrangements they've done vocally for the song. Look at Shaznay Sharon. It matters, y'all. It matters. It does. Yeah.
00:12:10 --> 00:12:33 All right. So all that being said, even though I think you watch the show, you're new here, you do not know. I give like really strange reviews, but then like my score does not reflect. Even if I just don't, I can appreciate the song is good. Right. So it's not my favorite. I will give it, though, an 8.5 because the songwriting is really good. It's just for me, I didn't latch on to this as much as I would the other song we're going to get into.
00:12:33 --> 00:12:51 Okay, that's fair. Okay, I will give it a 10 because I love it. I do think it is one of the best kind of British pop songs of that era. Respect, respect. All right, moving right along to All Hooked Up, and this was done by KG and Shaznay Lewis, and this was released as the third and final single from the album in January 2001.
00:12:51 --> 00:13:19 This single peaked at number seven on the UK Singles Chart, and in Natalie and Nicole's autobiography, Natalie claims that the second verse is actually sung by her in an attempt to mimic Melanie's voice, and Melanie ended up lip-syncing to it in the music video, which, of course, did not have any scenes of the girls filmed together. Hmm. So, due to the song's slightly inappropriate lyrics, they couldn't perform it on the typical television shows that were more geared toward children, unfortunately, I guess. Hmm.
00:13:19 --> 00:13:41 But there is only one full performance of the track that exists. And it was right before this performance at the infamous fight that I mentioned at the beginning of this video. They were fighting over a jacket. And this fight was between Natalie and Chazanay, unfortunately. And this was the final straw that led to the group's split. All right. So, yes, here we are with all hooked up.
00:13:41 --> 00:14:09 Yeah, this is an interesting one. Yeah. I will say, like, as a kid getting the album, this was not one that I listened to very often. Right. As I've gotten older, I do find the song quite funny. Like, the lyrics are quite silly, which I can appreciate. The production's interesting. Like, KG definitely has a signature sound, right? Yes. This definitely matches the sonics of the first album. It has the hip-hop elements.
00:14:09 --> 00:14:25 There's some of the rock sensibility there. There's just an attitude and a confidence to it that is just what the All Saints vibe and brand is just all about. Like the kind of like, we don't really care what you think about us and we're just going to say what we want kind of thing.
00:14:25 --> 00:14:48 Yeah, I felt that. Yeah, I just think melodically the song just isn't great. I think the harmonies are amazing and that's maybe what elevates it a bit. And I think just their vocal execution in general. Because again, it does have that kind of cold, nonchalant thing. Because even though they're kind of like this guy is bothering them, like it's not even worth more effort for them to sing it with any more emotion than they are, right?
00:14:48 --> 00:15:07 Right. So I appreciate, I think I appreciate the whole song as a concept more than what it actually is. Yeah. And then, yeah, regarding the whole Natalie versus Melanie on that second verse thing, I'm pretty good about getting people's voices correct and stuff. Yeah. I do think it is Melanie on the verse, but yeah,
00:15:08 --> 00:15:25 There is a second, call you a fool, that does sound like Natalie. So maybe it's like that verse is like a mix of the two or something. I don't know. But they've never performed the... They've performed it... They performed like just the first verse on like a tour medley. So they have not ever...
00:15:25 --> 00:15:54 We've never seen them sing the second verse ever again after this jacket performance. Right. The jacket performance is wild. First of all, that jacket, honey, was not worth the fight job of fighting over. Okay? Because, honey. Yo, the live performance of them doing it and Melanie's like the only one in that pink sweater is hilarious. Like, everyone's giving grunge. It's giving, like, jacket. And she was like, no, no, because I'm leaving after this. Like, shoot. It's so funny. They literally look like they came off the street and are on that stage and they do not want to be there anymore.
00:15:54 --> 00:16:11 Can I say, honestly, hang on, that's my big regret with this group. A lot of times when they perform on top of the pops, like, I get you're supposed to be like a nonchalant group, but, like, you already did that for the first album. You don't have to sit there and come again like you're going to a recording session, but I digress. Yeah. So, again, they should have not been arguing over that big old coat that Shaznay was wearing. Yeah.
00:16:11 --> 00:16:32 It was not worth it. But yeah, I mean, this song is what we come to expect from the group. The verses are good. They're very cool. Yeah, the harmonies enhance the main vocalist points. Yeah, the harmonies make me feel like the song is a little bit more tolerable than what it is. It's that old school hip hop meets the rock sensibilities. It makes it a little bit more interesting. Yeah.
00:16:32 --> 00:16:58 That line, the chorus is so lacklustre. Like, I know you want a piece of my zass. I know you want a piece of my zass. It's not good. It's whack. I'm not even going to, like, it's not, like, there's so many other words that could have been used. I feel like it's not even cheeky. It's just cheesy. Because, I mean, I don't know anyone who actually says you want a piece of my ass. Like, that's, like, who says that? Maybe they did back then.
00:16:59 --> 00:17:24 I'm sorry, that's what y'all was saying. I will say I like Nicole's when she says it. Why is this fool all up in my ass? Yeah. I think it's funny. That's what I was saying. That's what is funny, right? But again, it's not cheeky for me. It's just cheesy. Like up in my face would have been fine. Like something else could have been used here. Like this is just lost. It's cool for me because of that. Um, it makes things a little bit lame for me.
00:17:24 --> 00:17:47 I will say KG as the male featured voice is a good idea to have a different vocal break from the female voices and also provides another perspective. But boy, oh boy, when I heard that, I kept listening and I was like, this is the single y'all chose? I know. That's my biggest gripe. I'm like, this is the single. Weird choice. It is. They were like, well, if y'all gonna break up, I'm gonna bury you. That's what it felt like. Like, that's because this is not...
00:17:48 --> 00:18:07 Well, they weren't going to break up yet, though. Like, they still had a tour booked. Like, you know, I watched the documentary. You're right. But the point is, this is not like their best work. Let's be real. You guys can come for me if you want. I love this song. But you know this better. I'm going to be honest and say I don't think any of the fans really love this song. And I don't think they love this song either. Somebody likes it.
00:18:08 --> 00:18:36 Yeah. Well, what did you think of the video? Okay, the video was so funny because I'm here for like, you know, peeping Tom's getting their just desserts. I'm here for that. The whole voyeur-ing man thing was so creepy. We're men in the vents, men in the walls, men. I was like, oh, no. Yeah, that was very strange. If you've ever seen Candyman, Candyman would come through the medicine cabinet because it was based on somebody actually unaliving another person. Like it's a real crime through the through the walls.
00:18:36 --> 00:18:58 So I was like, oh, God, it gave me the heebie jeebies. But the girls look great. Like Melanie, her scene where she's on the bed. She looks good. She's hot. I was like, wow. And wow, look at this lady. So like, you know, it was nice. That's the takeaway. Yeah, literally. I hate that. I only remember her. But like, you know, smashing people through the wall. I remember that part. But I also remember her bang over her eyes and her lips looking amazing. Right now, twins.
00:18:58 --> 00:19:27 yes yeah i mean this just the concept whole concept of the video doesn't really match the song like i feel like it should be like a girl's night out and they they're just blowing off guys like in funny ways or something yeah no they said we're gonna ruin their life yeah we're doing this like creepy voyeuristic thing yeah um but the way they all beat them up and the you know i think that's all fun but yeah it is kind of sad they didn't have any scenes together
00:19:27 --> 00:19:50 They were like, listen, girl, you'd be lucky I even showed up. Yeah. That's right. Oh, man. Okay, well, I will say, like I said, it has grown on me because I'm just going to appreciate it as it being very silly. Okay. I think if I go at it with that angle, I like it more. So, yeah, I'll give it an 8. How about you? I gave it a 7.5.
00:19:50 --> 00:20:18 Okay. All right, moving on to track three, we have Dreams, which was done by William Orbit, Paul Sim, Booga Bear, Chris Bonacci, Karen Wilkin, also known as Samantha Fox, and member Natalie Appleton. And Samantha Fox, who is a famous English glamour model, had to use a fake name for her credit because apparently the group or the label or someone did not want her name associated with them.
00:20:18 --> 00:20:34 Yes. I mean, she was a bit of a Meg symbol back in the day. The sex symbol. She was. You know, Naughty Girl Needs Love was not okay in the 80s. Like, no, that was not it. You can't do that. You can't be a woman saying, I want to...
00:20:34 --> 00:21:02 Blink someone. But I'm tired of blinking. I want someone to hold my heart and blank me at the same time. You can't say that. Things are different now, obviously. Yeah. Yeah. But yeah, no, I mean, William was like, I'm going to give you guys a trance vibe. I'm going to inject every song that I touch with trance. Which makes sense then when you see why he was made, you know, why Ray of Light is like his big opus. Yeah. Yeah. Which is so interesting because this is like, I have not heard that man except for,
00:21:02 --> 00:21:18 Yeah.
00:21:18 --> 00:21:39 I find myself being, okay, there are some elements that I recognize, but ooh, what's this? So with this one, I liked it because it feels cool, and it still has that interesting bounce and groove. I think the abrupt stop and start of various instruments before the second verse is so cool. Things like that is really interesting to listen to because you're expecting a...
00:21:39 --> 00:21:55 a consistent stream line of music but then you get these random stops or these random breaks and you're like what's going on it's very abrupt and almost disorienting which with the song is kind of creating that in such a disorientation kind of going on thing going on
00:21:55 --> 00:22:11 I feel like the song is really broody, but the melody is so pretty that it feels like a dream you can't get out of. So it's not like a nightmare, but you're like lucidly stuck in this dream. The song, I feel like it's a conceptual masterpiece. I'm using that word, not even loosely, because I was thinking to myself, like...
00:22:11 --> 00:22:29 Everything about this feels like there was a concept. And if they went back to work on something, it was like, have an idea for this. Can you make this happen? And that's why I mean, conceptually, I think it's a great piece of work. There's a bridge echoing over itself. It's so off-putting, but disorienting. But it's also really pretty because the harmonies are good.
00:22:29 --> 00:22:59 And it feels like I'm falling into an abyss. It just feels like the beginning of Gaga's paparazzi where she's falling into that little hypnosis thing. That's what I want to feel when I'm listening to the song. If you're going to talk about dreams, you better make me feel like I'm in one and I can't get out of it. Especially listening to the song with headphones. It feels like I'm going... It feels like the song's going to have a terrible ending and then this bass-driven ending comes in and it makes the song sound more optimistic. And I'm like, what the heck? Oh my gosh, this is fun. So I play this one quite a bit.
00:22:59 --> 00:23:29 quite often when I was listening to it. Because it's just, it's interesting. Because it's not the generic kind of like pop girl thing to do. It's just, and it's not like super cool and nonchalant. There's a lot of chalants in this. They're very chalant. Yeah, no, I do think this is widely regarded, actually, like among the All Saints fans. It's one of one of their best album tracks. And, you know, Natalie doesn't get much in the first couple albums. And this kind of being her main contribution to this album. Yeah.
00:23:29 --> 00:23:57 I think people are just appreciative of that. The production is so beautiful. I love the beginning. It's so, like, the acoustic guitar and the strings, it's like you're falling asleep, you know? And then it gets weird. Like, then it gets, like, atmospheric, and then this darkness kind of creeps in. Yeah, the really, like, just staccato synths, and this really, even the percussion's very kind of stabby, too. So, yeah, very interesting, like, just different feelings that you can get out of this. And, yeah, the build really is so good.
00:23:57 --> 00:24:08 Natalie does have a very different tone Because normally you do get to hear Shazney and Melanie The majority of the time Natalie does have a huskier Kind of thicker
00:24:09 --> 00:24:29 tone in her voice. And then her blended with Chazenay is just a totally different sound than Chazenay and Melanie. Yeah. So I think having them to kind of lead everything and kind of be blended together for the chorus, I think is really cool. And then the lyrics are really beautiful too. They're very poetic, very self-reflective. And the melody is...
00:24:29 --> 00:24:55 it's almost a little monotone. So then it almost feels like an internal conversation or like just something very personal. Yeah. So yeah, I just think it's a really, really cool song. This is another one that has grown on me a lot as I've gotten older. Yeah. Oh, valid, valid. Okay, so Natalie, you wrote the crap out of this song, Boo. Nine for me. Okay. Nine for me. Yeah. I will do 8.5. Respect. Yes. Yes.
00:24:55 --> 00:25:21 All right, y'all. Up next is Distance. And this was done by Kylie McRae, KG, and Chaznay Lewis. And this song was one of two tracks from the album that was previewed on their first Arena tour. And it was originally announced as the first single from the new album, though it never happened, unfortunately. Because, you know, the song is songin'. Yeah, you think it could have been a single? You know what? There's a lot of songs that could have been a single over. Yeah. Over all the stuff? Oh, yeah. Yeah.
00:25:22 --> 00:25:47 Yeah. I mean, I will say as a lead single, I don't know if it would be strong enough, you know, so I could maybe see why the label pulled back on that one. But, you know, I do think it is a good song. There's a nice groove to it. It's kind of organic compared to some of the other songs so far. It's got a fun percussion. There's some cool guitar moments in there. And Chaznay sounds great. Like, this is so perfect for Chaznay's voice. Mm-hmm.
00:25:47 --> 00:26:03 She just yeah she just has such a signature sound it just makes everything sound cooler like even though these these lyrics are like a little cheesy kind of the whole like oh I'm far away from you and I miss you kind of thing but then she like she makes it sound like not that cheesy like at all.
00:26:03 --> 00:26:31 Right, right. And then the backing vocal and harmony arrangements are so cool in this. Like, I love that Natalie and Nicole get that little moment that kind of pops up. It's kind of a pre-chorus, kind of a bridge, kind of a knot. And it's kind of just an extra part. But it stands out so much because there's like a warmth to it. It's very different from the rest of the song. Yeah. Yeah. And then I love the way it ends, too. That little like acapella kind of thing. Yeah. I really enjoy this one, actually. Yeah.
00:26:32 --> 00:26:38 Yeah, I agreed. I have something about the Appleton sisters as well, because I was listening to, what was it? Yeah.
00:26:39 --> 00:27:09 I was listening to their singles. I'll mention them later, too, and a couple other notes and some other songs. But, yeah, I was like, they can actually sing. What's going on? This is not like they can't sing, which stinks. But, yeah, the guitar in this one is addicting. I like it. I feel like I've heard this one before. Like, I kept listening to this song. I'm like, why do I know this? Why do I feel like I know it? Why does it feel familiar? But, yes, the song, it's full of all their cool lower vocal tones.
00:27:09 --> 00:27:36 harmonies it's not super high it's not super bright so it just makes it again it does make it sound um like very smooth kind of suave kind of vocals um it just makes everything feel grounded um this is something i'm used to with this group so i can get why they might have been like set on it being a lead single i'm glad they didn't because it's you know try something different because you're you're good at this we get it um i did set the appleton sister sound grid with the
00:27:36 --> 00:28:06 ad-libs and that pre-hook chorus thing. I just, I am curious about what the recording would have sounded like with someone else singing the verse. But the live performance for that, with our concert, satisfied that curiosity. I was like, I do wonder what it would sound like. So it's nice that these live performances exist because we can actually watch and be like, oh yeah, that's what I was looking for. Like, oh yeah, that, I didn't know I wanted that. I didn't know I needed that vocal there. I needed someone here, someone else to sing that part because everyone is obviously capable. I just, you know, we just didn't hear it in the recording.
00:28:06 --> 00:28:24 Yeah, I mean, Melanie on that second verse in the live performance, I think she sounded okay. I would have probably actually... I'm okay with Shazade getting it in the end. In a live performance, I think in a live performance it's kind of hard because you're just standing there when you're just recording. So you can probably breathe a little bit better. I hope she's not going to have it!
00:28:26 --> 00:28:44 Not that bad, right? I don't know. There's like a power to Chaznay's voice that I think gives it a bit more life. She projects very well, yeah. Yeah, the tour performance is okay. I think the dance routine was a little awkward, but it was effective. You know what? I'll take it because that's the first time they look like a cool pop girl group, not just showing up for a recording session. So I'll take it because...
00:28:46 --> 00:29:07 Okay, so what do you rate this one? Alright, so for this one, I gave it an 8.5 Okay, I will match you with an 8.5 Moving on to Black Coffee Which was done by Alex von Seuss Tom Nichols Kirstie, Elizabeth, and William Orbit And this was released as the second single from the album In October 2000 And it hit number one
00:29:07 --> 00:29:24 in the UK charts. It is notably the only All Saints single not written by Jasné, and it was actually originally written as more of a rock ballad by Miss United Kingdom 1988, Kirstie Bertorelli, for her own solo project.
00:29:24 --> 00:29:49 And interestingly, during the recording sessions, there was tension because Natalie advocated for herself and Nicole to be given some of the lead vocals. And though Natalie did get to take a stab at it in the booth, Chesney eventually ended up leading the track, though Natalie does sing lead on the chorus. And for the music video, like they would do with All Hooked Up, also a few months later, it was specifically requested that the members did not have to shoot.
00:29:49 --> 00:30:03 any scenes together. And interestingly, there is a remix by the Neptunes featuring Pusha T that was released on the single. I had never heard this before until we did research for this album. That is so funny. So very random.
00:30:04 --> 00:30:25 you know that's cool it is it is i listened to it and i thought to myself well at least the melody of the song is it because this is the most basic beat ever that was baby pharrell yeah i know it was yeah i go boy and baby chad and baby pharrell i totally get it but i can honestly say i was like wow good thing this melody is good
00:30:25 --> 00:30:54 But also, the original melody, the original production, is the superior version. Oh, yeah. You know? Not because it was Baby Pharrell, but because of how the song kind of switches in terms of the inflection in the voices. It's a great follow-up for Pure Shores. It's breathy, it's glitchy, and it sounds interesting. The production elements jump back and forth and juxtaposed with sounding somber and cynical, and then suddenly it's brighter and more hopeful. So I think that's really...
00:30:54 --> 00:31:20 good to have and the song reminded me of something that sugar babies could have done maybe maybe girls a lot like early girls a lot but it sounds like something they would have done with like richard x or like xenomania because it's so strange and it switches back and forth and it has like this like i i don't want to be bad i want to be good for you kind of thing that was known for um so was they're still around is known for um but yeah so i like chazne's tone in that
00:31:21 --> 00:31:39 I don't even know, that verse? Yeah. The bookend verses? Yeah. It is really distinct, and I latch onto the melody very quickly. So, yeah, I like this one a lot more than I liked Pure Shores, honestly. Oh, interesting. Yeah, that's why I like it more, for sure. Yeah. I absolutely love this song. I think...
00:31:39 --> 00:32:02 I would say there are days I would say this is my absolute favorite all same song. It's definitely up there. Yeah. And I've liked it more and more as I've gotten older too. Because again, like some of the other songs we've been talking about, there are so many layers to the feelings that are emoted in these songs. And you understand that just more as you get older, I think. Because yeah, it's like...
00:32:03 --> 00:32:21 The lyrics and melody are actually pretty warm, like especially in that chorus. But then there's just such a coldness to the way it's produced. And the verse as well is so robotic and emotionless as well. So I don't know. It's just a very, very interesting juxtaposition there. Yeah.
00:32:21 --> 00:32:38 Yeah, the pre-course is for sure my favorite with the extended notes, like that harmony arrangement and that freeze the moment hook, I think is so, so good. And Natalie getting to then lead those warm voices. Again, it just her and Chazne are almost...
00:32:38 --> 00:33:08 opposites and kind of how they sing, like in the how they emote and stuff. So it just ends up in a really well rounded kind of sound. And then I love the ending as well. Like it's kind of unexpected that you get the first verse and you get this kind of like intense outro. Yeah, I don't know. I feel like every time I hear this song, I hear something different, whether it be in the harmony or just something in the production. I think it's just a beautifully crafted song for
00:33:08 --> 00:33:29 Oh, yes, the bullet time video. That video was interesting. It's just like superimposing your stars in the video is always a good time. I'm being sarcastic if you guys couldn't tell. But, like, oh, God. When you're beefing, you're beefing. I get it. I mean, oh, God. Luckily, these girls are not...
00:33:29 --> 00:33:56 This opposite of captivating, but they are captivating alone. Like, they all know how to hold my attention. Like, if Natalie was on the screen, I'm watching. If Melanie, okay, I'm watching. You know what I'm saying? Like, I can go through the list and be like, okay. I'm not just like, girl, this is why you're singing backgrounds. I can look at them and be like, okay, girl, give me face. Give me emotive, you know, expressions. Give me cold. Give me the couples in between arguing and fighting with the bullet time. I get it.
00:33:56 --> 00:34:14 because it's about like trying not to be a toxic person in a relationship and wanting to do better. Like freeze the moment. Take a breath. Yes, exactly. Like, well, this could be something that we can't take back. And I liked that. Again, just having these little all saint girls floating around in the video. It's just like, okay, I guess. Yeah.
00:34:14 --> 00:34:40 I mean, whatever. They look great. I don't... Nothing else to add to that. But I think the bullet time probably is the most iconic part. They did not have that, like, slow-mo Matrix situation going on. It would have not been anything like that. Yeah. Yeah, yeah. I do remember seeing this video all the time on the music channels in Hong Kong. This song was really big there. So whenever I hear this song, I picture the, like...
00:34:40 --> 00:35:07 the rooftop, like the bluish kind of grayish tone with the buildings in the background. I think of that more than I do the scenes with a couple. Yeah. And yeah, performance wise, I do wish we got more performances with live vocals during this era. Like I was scrolling through all the performances and I could only find one that was with live vocals. And I wonder if they were just kind of just over it. They were like, we need to be together as little as possible. So we are not showing up early to soundcheck. Yeah.
00:35:07 --> 00:35:36 Like we are not doing more work than we need to. But, you know, with the lip sync performances, I think the dancer team with like the posing and the step hits and the freezing and stuff was actually pretty effective. Yes. The one by one freezing at the end was fun. And then that one live performance, the Jules Holland one. Oh my gosh. The harmonies are so good. I was like, this needs to, they need to put this on streaming. Like the live version is insanely, insanely good.
00:35:36 --> 00:35:55 Yeah, I wonder what I feel like I know, but I don't know the full logistics of how it works, like how getting a live version. But obviously you have to sit there and like make sure everyone signs off, which is a live performance. Like, hey, this is us playing, even though it's not our production. That is a very complicated thing. It is. But you're right. I agree. Certain things should definitely be streamable.
00:35:57 --> 00:36:07 But yes, so this one, I like it a little bit more. I'm giving it a 9.5. Okay. This one definitely gets a 10 for me. Yes.
00:36:07 --> 00:36:28 All right, up next we have Whoopin' Over You. And this one was done by Johnny Douglas and Shazenay Lewis. Oh yeah, by the way, if you're still watching, still listening, and I know you are, you should be hitting that subscribe button. And leave us a comment. Let us know if you, what's your favorite song? If you've made it this far, you might as well participate with us. It's a good time here at CCTV. So make sure you join us in perpetuity. Okay.
00:36:28 --> 00:36:58 Okay, this one is so fun. And it comes in at such a good time on the album because it's been quite serious up till now, I would say. Yeah, this one feels a little lighter. It's very funky. There's a heavy bass line. But then there's still a lot of synths in there. So it's not like it feels sonically completely different from everything else. But yeah, I think the chorus on this is one of the best ones on this album. It's so catchy. It's fun to sing along to. And I think just the phrase, like, whooping over you.
00:36:58 --> 00:37:24 I've never heard that phrase before. Yeah. So that's definitely memorable. Yes, it is. Yeah. And then, of course, we do get Nicole and Natalie actually leading the verses here. And we get the return of the rapper Chaznay. Yes. Some of those pre-choruses. And even Natalie gets to rap some lines in the second verse as well. So I think the whole vocal dynamic this time, it's just refreshing to hear all the different voices. Yeah. Yeah.
00:37:24 --> 00:37:45 And you hear Melanie on those highs as well. You really can hear all four of them in the harmony arrangement. I definitely think this could have been a single. Like maybe they weren't going, I don't know. I'm trying to think of the argument against it. Because maybe there's just nothing else sonically on the album that matches it. But I think, I don't know. I think it would have worked. Yeah.
00:37:45 --> 00:38:04 I mean, if y'all can sit there and do Lady Marmalade after doing Booty Call and, like, you know, there's no excuse. Yeah. So, you know, and, like, under the bridge and things like that. So, it's like, they could do whatever they wanted because they had a sound. I mean, this one definitely is, like, some psychedelic rock situation. So, I guess it's like, oh, oh, do we want to...
00:38:04 --> 00:38:30 Okay. So the bass line is cool. The melody of the verses in the chorus is so good. I like how the song feels. And I want to keep talking about feeling with them because it's you're supposed to feel good or feel whatever it is that they're trying to get you to feel. At the end of the day, that's what music is supposed to do. You either like it or you don't. But why do you like it? Because you feel like this. It sounds good. But yeah, but how you feel when you hear it. And this one reminds me of Edwin Collins' Girl Like You. I never met a girl like you before.
00:38:30 --> 00:38:51 Where it sounds like... Obviously not the same song, but it sounds like it's from a different time. It sounds like we've got a time capsule of a song that got sent through time or we have to wait for it to get unloaded in a bottle. You know? We've unlocked this ancient musical artifact and here's a phonograph and here's this song whooping over you. But then...
00:38:51 --> 00:39:20 You have these record scratches and the top line that was written that's really modern. And there's a wiry synth in here that takes the song to a whole other planet. Literally, like it feels like an alien transmission. Like instead of we come in peace, it's like we come for penis. You know, like it's great. I love that. It's so fun because the whole like kitty cat line and my little cowboy hat. Yeah. Yeah. We don't come in peace. We come for penis. I'm here for that. Go off. You get your you get your your human boy. Yeah.
00:39:20 --> 00:39:44 But yes, want to come along for the ride. I know that it's good enough. Lines like that, they're fun. This is the cheekiness that I was looking for. And that performance was really good. Like, even though they seem kind of bored during this performance. And you can tell their mic levels are also off. Because, like, Natalie is trying to, like, scream over everyone. I don't know. It was just, like, a lot going on there. But, again...
00:39:44 --> 00:39:58 The vocal arrangement is super smart with the way they did the harmonies and who kind of overlaps where. Yeah. It was great. Yes. Yeah. So I give this one 8.10. Okay. Yeah, this is up there for me. I'll give it a 9.5. Yeah. Yeah.
00:39:59 --> 00:40:23 Okay, moving on to track seven, we have I Feel You, which was done by Stuart Zender, Russell Nash, Femi Femme, and member Melanie Blatt. And Melanie wrote this in dedication to her daughter. So, our first Melanie co-write of the album, what do you think? Okay, so this one's really sweet. This one reminds me of something that Minnie Riperton could have sung to. Mm-hmm.
00:40:23 --> 00:40:45 What is it? The oh, my gosh, what's that song? The Black, the Black Gold of the Sun or Black something. But it's like a it's another one that kind of sounds like Where You Are by Jesse Ware as well. Like the chorus of this song. I kept singing Where You Are over it. Even before we got on, I was singing Where You Are when I came in. So there's a there's a genre or a certain kind of sound and and and.
00:40:45 --> 00:41:08 again feel groove that comes with this kind of sound of the song and i like it i feel like the delivery of the chorus sounds slurred not like drunk slurred it's more like it's fluid and its delivery is more legato than it is like sticky and and and sharp with staccatos it feels free i just overall like how it flows um i will say though
00:41:09 --> 00:41:29 even though the choir and the song is not a bad idea, I will say that the song doesn't get big enough for me to feel as if the depth of sound is justified because you have all these voices, but the track is almost so minimal where it's not actually creating that big moment. It just sounds like, oh, okay.
00:41:29 --> 00:41:51 concept of a plan we like this it's going somewhere but it just didn't get to his final destination for me so i didn't feel like it was like really a big release uh the song was dragging after a while as well so i had oh my god i had a long drive today for work and i was just like dang this song is still going i was getting sleepy it's just a very like it feels like a lullaby
00:41:51 --> 00:42:06 in terms of how it's written and the production of it. And it bothers me because the song is so long, but then you get a stringed outro. It was something. It would have been nice to hear it sooner. It would have been nice to hear it with the chorus. It would have been nicer to hear it just maybe two minutes earlier. Yeah.
00:42:06 --> 00:42:25 So, yeah, I actually think that that whole never give up on your love, that whole part, that could have just been the outro. Like you could have just had that as the outro, then do the strings. It didn't need to come back to the choruses again, because then you do get another full minute, minute and a half of the chorus again. So that would be where I would do the little radio edit. Yeah.
00:42:25 --> 00:42:54 But yeah, I think the song is very pretty. Like the production is interesting. It is. I don't know. I wonder kind of where the album was before they got William Orbit involved. Because it definitely because we are a few years after the first album and the album came out a whole year after it was supposed to. And I think it was because of this opportunity with William Orbit and songs like Distance and the KG stuff I think was all written out.
00:42:54 --> 00:43:12 Before that. Okay. You know, obviously it's like, I feel like this whole dreamy kind of thing kind of came after the fact. So it's just interesting that they then had all the writers and producers, not all of them, but a lot of the other writers and producers involved also kind of follow that brief. Yeah, I guess. Yeah. Yeah.
00:43:13 --> 00:43:33 Because, yeah, this has that same kind of thing where the vocals are very warm. The lyrics are very kind of cheesy, but again, very warm. But then there's a coldness in the production. And that does make it a little cooler. And it's not like a typical ballad. So I guess that makes it stand out a little more. I think melodically the pre-chorus is probably my favorite part.
00:43:33 --> 00:43:50 Like that part, I think, stands out the most to me. The actual chorus is only okay. Yeah, absolutely. And you make good points on the choir because I also didn't feel they were very necessary. Yeah. Yeah. Yeah. So I'll give this one a 7.5.
00:43:50 --> 00:44:07 I'm sitting at a seven. It's in the middle. It's down in the middle. Yeah. Yeah. Up next is number eight, Surrender. And this was done by William Orbit and Shazney Lewis. Pronotional copies of Surrender started to circulate in January 2001, indicating that it was likely going to be the fourth single from the album.
00:44:08 --> 00:44:37 Oh, it could have been. You think it would have been a good single? Not the greatest, but anything would be better than Hooked Up. I'm not... That would have been the third single. So this would have been after that. I know. I'm just bitter about it. I don't think this would have been a good fourth single at all. I feel like maybe they were just like, let's just release all the William Orbit songs, maybe. Yeah, because the name in itself is like... Yeah, because I don't... I can't think of any other reason why they would release this one. Not that I think it's a bad song. I just don't think it...
00:44:37 --> 00:45:00 Like, it doesn't do anything that Black Coffee and Pierce Shores don't do better. Valid, yeah. Yeah. Valid. I mean, it definitely feels mature, you know, very sexy lyrics. I do enjoy the melody because there is, again, there's like a creepiness to it almost. Yeah. There is a darkness to it. It's like, oh, like, it's like you are ready to surrender, but then it's also like...
00:45:00 --> 00:45:29 will this person take advantage of you? Like, I don't know. Literally, there's a line about saying, like, you know, she's like, she's watching the guy move and she's like, I'm like a dead man. I don't move. I hate that line. Yeah. There's a creepiness to it. There is. There is. Yeah. But I do like the way the chorus is. I think the way the melody is, I don't know, there's like an interesting drive to it. And I love Chazne's surrender. I love those little chants in the back. That might be my favorite part, actually. What I do not like is that spoken moment. Yeah.
00:45:29 --> 00:45:36 in the middle. Oh. I wouldn't even call it a rap. It's a spoken moment. Bart Simpson. Bart Simpson. Yes. Stop. Bart Simpson.
00:45:36 --> 00:46:01 He's like, don't have a cow, man. People love each other, man. I was like, get me out of here. Yeah, that is the most bizarre thing. I was like, that is a choice. Yeah. And honestly, the whole structure of the song is a little odd. Like, the second verse has all these random kind of unrelated moments. Yeah. Like, I feel like if it was a single, it would need to be rearranged. Like, I just don't...
00:46:01 --> 00:46:12 Yeah. I don't get it. But I think the production is great, too. I think, you know, it is more intense, I guess, than Black Coffee and Pure Shores are. So it's different from the other Orbit songs. I just don't think it could have been a single.
00:46:12 --> 00:46:31 You know, that's valid. You know, I'm like grappling with like my thoughts about this song. Because like I said, the Bart Simpson, Bart Simpson coming in, like he's narrating the nasty time. Well, you know, people love each other. You love what you want to love. And I was like, whoa, get me out of here. Oh, get me out of here.
00:46:32 --> 00:46:57 So yeah, the sound of the 2000s, this sound of the 2000s is like really distinct. Like it reminds me of something that would have gone off in a TV show like Charmed. Like Cole and Phoebe getting it on. This would be the song playing. Or like, you know, Prue with one of her boyfriends because she definitely had some boyfriends too. But either way, it just feels like something that would have been going off in the background of Charmed. P3, the band is singing, you know what I'm saying?
00:46:57 --> 00:47:23 The echo and effects put on the guitar really put me in a trance. Like, it's very trance-like. And then the music goes... There's some boing-oings in there. I legit have my notes, boing-oings. Yes. There's a lot of boing-oings. So you have all that spatial, again, aliens, I come for penis piece. Excuse me. I mean, this is for penis, too. Yeah. Yeah. I come for a piece of your peen. So I'll say peen. Come for a piece of your peen. Um...
00:47:23 --> 00:47:50 But yeah, I enjoyed the storytelling of the song. I think that's the best part of the song because you get the whole build of like, we're together and we're drinking a little bit and kind of like, you know, I'm a lush for the conversation and also for this wine that I'm drinking. It builds tension in a fun way. It makes me feel like I'm in the room with them. I mean, like a little pervy bug on the wall, you know, like kiss my feet and dress me. Homies putting the moves, okay? But again, that dead man, like a dead man, I don't move line.
00:47:51 --> 00:48:11 Girl, it makes you sound like you're there unwillingly. So to what you said, yeah, yeah, yeah. It's effective. I will say certain lines like that kind of took me out. It kind of affected my score. And then Bart coming in. I was like, what is this song? This is like a revolution? That was weird. A PSA? The rap is weird. Yeah, it wasn't great. It wasn't great. Yeah. Spoken word. Yeah, you're right. It's not a rap.
00:48:13 --> 00:48:36 Oh, man. Okay, but yeah, I will actually give it an 8. I will say this is not one I have listened to in a long time. Yeah. But I actually like it a little more than I thought I did. So, yeah. That's valid. Okay, I was kind of dancing in between two scores. Okay. I feel like if I listen to it again, I'll be like, oh, yeah, I like this song. And then get upset that Bart's there. So, I'll give it...
00:48:36 --> 00:48:55 I'll give it a... Dang, I'll give it a 7.5. My score might go back to the 8, but like... Yeah, it started at 8.5, but then it just dropped. I heard Bart coming. Stop. Gosh. Bart. Okay, moving on to track 9, we have Ha Ha, which is done by Johnny Douglas and Melanie. Ha Ha.
00:48:55 --> 00:49:10 So yeah, we have the other Melanie Co-Wright. Yeah. So it's more upbeat. What do you think? Okay, so this song is my response to the people who try to clock us in the comments. Listen, the CCTV comment moderator goes in. It's a very ha-ha moment.
00:49:10 --> 00:49:34 because this song is very much like, you doubted me, but here we are with the facts. And the fact is, the group is selling records, and they have their own houses, and they made it. We always love a good, we made it song. But yeah, the chorus is one to buckle my shoes, so of course that familiarity was there. A little lazy. But whatever, whatever, if it ain't broke, don't fix it, and if it's easy to do, just throw it in there. The song...
00:49:34 --> 00:49:54 has bounce, groove, and vocal swing. It's giving me first album. The ha-has are addictive. That laugh out loud I enjoy. Because I was like, ooh, is this all called LOL? When I was just listening and not paying attention, I was like, ooh, nothing. Coining the phrase. Penny Nickel Dime coined the phrase. They did not Penny Nickel Dime coin it. I thought they did, but they just said ha-ha. Shazne being the principal teacher
00:49:54 --> 00:50:24 in that second verse made me think of left eye. It's such a shame that the two never crossed paths. Like the song totally reminds me of something that TLC could have done. They could have covered this, whatever, like T-Boz on the verse, Chili on the harmonies. This rap that Chesnay actually has in here is really good. Yes. I'm here for the ha-ha, I'm rich. You know, so it's good that she had that moment there. Melanie wrote a good song. It was very, you know, autobiographical. And I can relate to a certain extent. The chorus, again, was like the laziest part of the song, but it's not bad.
00:50:25 --> 00:50:50 You know? Yeah. I mean, I don't mind the kind of one, two line. Three, four lines. I don't actually mind that. There's a fun bounce to it. Yeah. And it's catchy. I will say, this is another one I totally forgot about. This is not one I've listened to in a long time. And again, like Surrender, I actually like it more than I remember. But it does feel kind of the most filler-ish of the songs we've heard so far.
00:50:50 --> 00:51:16 because it's just not that memorable yeah i would say yeah i i think again i i like the concept like i like the lyrics of it i like elements of it like chasnay's verse um but i feel like as a whole it's just like it's better than okay but not by that much yeah yeah my squirrel fucks that not by much yeah so so what'd you give it
00:51:16 --> 00:51:40 I'll give it a 7.5. So it's like right where the other song was kind of. It's okay. Okay. I mean, yeah, I think I'm between the 7.5 and 8. I do like surrender more though. So I guess I will go 7.5. See? That's why I'm doing a hard time. Shoot. Dang it. Can't go back now. If you've made a mistake like I have, please leave it in the comments. Between the two. If you were like me, stuck.
00:51:40 --> 00:51:49 we're going right along we have love is love by johnny douglas and shaznay lewis so chris i'm not gonna hold you when i saw the title i was like wow they were progressive
00:51:49 --> 00:52:16 Yes. The alphabet kids are dancing and singing. So I thought that was this. What are your thoughts about this one? Yeah, not so much. Yeah, this one's a fun one. I really like the chorus of it. It almost feels like, though, it doesn't hit its full potential for some reason. I feel like if this was given some oomph, like some new production and stuff, it probably could...
00:52:17 --> 00:52:34 It could have been a single, but I think in current form, maybe not so much. I like the way the verse is written with kind of the slight overlap of each line, but Chaznay basically sings almost the entire thing. So I think that was a missed opportunity there for that back and forth. Yeah.
00:52:34 --> 00:53:03 Because, yeah, there's just so much potential here. Like, especially even in that second verse when she bumps up the octave. Yeah. And I was like, oh, that would have been the perfect time for Natalie to come and just, like, belt her face off for two lines. You know? Because even the chorus sounds very Chaznay-heavy, like, even in those harmonies. Mm-hmm. So, in a way, it almost sounds like a Chaznay solo song. Yeah. But then we do get Natalie kind of randomly saying the chorus and that, like, whisper-breathy kind of thing. And then she does some crazy great ad-libs at the end.
00:53:03 --> 00:53:25 Yeah. So I don't know. I think the whole thing is, I feel like maybe that is maybe why it feels fillery. Cause you can't hear the four of them in that same kind of blend that you get in their signature sound. Yeah. But yeah, I think it's good. There's a lot of different hooks to grab onto. And I like the lyrics as well. I think, I think it's better than the last two tracks we listened to. I'll say that.
00:53:26 --> 00:53:53 Oh, ballad. Yeah. I like this whole style of pop from the 2000s. Whoever originated the guitar and glitchy drum patterns, who did that? I feel like it just came out of nowhere and everyone was doing it, but I know someone originated it. The song feels like it's scratching the surface of being great. I listened to some of the Appleton's songs like Fantasy and Don't Worry, and the sisters could have sung more.
00:53:53 --> 00:54:17 Oh, yeah. I get that she's writing the songs. Like, I get that Shaznay's writing the songs. She can write a mean song. But like, honey, why not write parts for your girls? She'll make up for this later. I know. I know. And it's tough because like when you're young and you're just excited and you're just like, I want to get into the booth. I want to get into the studio. I want to be there. You know, if I have to go early, that means I'm singing the part. You know what I'm saying? Like, yeah.
00:54:17 --> 00:54:44 It's tough. I get it. But it just stinks. I'm like, you're so capable. You don't have to be... There's 14 tracks. There's over 10 tracks on this album. You could have let someone else. You know? So that's when I get a little like, okay, alright. Just at this point in the album as a group, I'd like to hear another voice belting. I think what really kills this for me is the chorus. It's okay. It's okay. The bridge is a moment. It's okay.
00:54:44 --> 00:55:09 In terms of production, the lyrics were lazy. But I like the crashing sounds at the end before the spoken part. But yeah, I mean, this is just shy of all throughout this song. Just shy of. Yeah, just shy of. Excuse me. Yeah, not fully developed. Yeah. Yeah. Demo that just got mastered a little bit. A little bit. Yeah. I like the foundation, though. I'll give it an 8.5.
00:55:09 --> 00:55:24 Isn't it? Bum-ay. Okay. Moving on to Ready, Willing, and Able, which was done by KG and Shazney Lewis. And this was the other track, along with Distance, that was previewed on their first arena tour and also performed at various events.
00:55:24 --> 00:55:40 Word. Okay. This sounds so forlorn and it's pensive, but the lyrics are like, they're vulnerable, obviously, fitting it, but the production itself just sounds very lonely and isolated. It just makes me feel like
00:55:41 --> 00:55:58 someone who doesn't have like a place to go, you know? And I guess when you're like dealing with love, you don't know where to put your feelings and you're hoping that someone will accept them. It does make sense. So I liked the way that it was written to, it wasn't, they didn't, they didn't take Chasner, uh, did not take the approach of, uh,
00:55:58 --> 00:56:28 Life is so hard. Life is so hard. It was more like, okay, love is kind of tough for me. I'm trying to figure this out. I want to figure it out with you. I will say that with this song, I think the group may suffer a little bit too much for being chill. Like there is such a thing as being too chill because this song would have gone off with some belting. Like it feels like the song wants to explode. It feels like even the thematic elements of the lyrics, it wants to go somewhere. It wants to just really have that release. It wants to burst. Again...
00:56:28 --> 00:56:45 It wants to explode, but all it does is swell. So it just goes big, big, big, big, big puff, and then kind of deflates because the song kind of just, it's over. It is a very smexy song. I appreciate the vulnerability. But yeah, it's a real fear of giving someone your heart. But again, just shy of...
00:56:46 --> 00:57:06 something else not terribly so like the other one but i was like dang this song deserves a moment yeah no that's not i mean natalie kind of gives it to you live yeah but then she's not she's not heard really on the studio version no one ad lib stays that's it
00:57:06 --> 00:57:28 Go ahead, Natalie. Go ahead, girl. Yeah. Yeah, this one's good. It does remind me of track 11 on the first album, Take the Key. Very similar vibe there. But that one, the chill thing made a bit more sense. I agree with you. This one also feels like it has the potential to be something so much bigger than it ended up being.
00:57:28 --> 00:57:53 And I actually do remember, I think, maybe seeing like a bootleg or just like really bad recording of them singing this live. Like before the studio version came out. And I remember just being so annoyed that Natalie was taken off. At least I grew up with that moment. Yeah, I think the lyrics are interesting because it's like the lyrics are that they're ready, willing and able to embrace this love. But, you know, there is there is.
00:57:53 --> 00:58:09 Like you said, it's scary. There's some hesitancy, even if you are ready. Yeah. You know, and it does a really good job of conveying those emotions, I think. Yeah, yeah, yeah. So in that way, I think it was written really well. And I love the acoustic guitar solo in the middle.
00:58:09 --> 00:58:24 Just something very different than what we've heard on the rest of the album so far. And the whole production is very nice. Sounds very, very full. So yeah, I think it's good. But yeah, I feel like it needed a little bit more oomph like what you've been saying. So yeah, I'll give it an eight.
00:58:24 --> 00:58:43 I also give it an eight. So yes, we are now at the final track of the standard album. We are at the title track, Saints and Sinners. And this was done by Michelle Escoffery, KG, and Shaznay Lewis. I can only imagine what her worldies look like. Go ahead, girl. Yes.
00:58:44 --> 00:59:14 Oh, man, I could see this being such a good concert opener. Yeah. Like the heavy electric guitar, the heavy drums, the way it's produced, it's like already in a live arrangement. It's so, so good. Yeah. It's just very, very powerful. And it does have a lot more energy than like the last like five or six songs we've heard. So it's quite refreshing as it comes to the end of the album. And yeah, there's a lot of built-in like audience participation here too. There's like the kind of question and answer, kind of call and response.
00:59:14 --> 00:59:38 kind of thing like i love that do you want to go fast do you want to go slow like i love that i think that's so much fun um and again you can hear all four members really well when you get nicole getting to do a bunch of these like fun little talky parts natalie gets a verse melanie's on the highs jasmine of course is kind of leading the whole thing uh just really great kind of just balance of the four it just sounds fun to sing
00:59:38 --> 00:59:58 Yeah, yeah, yeah. Can I say something about the Shaznick? I remember when you first showed me All Saints. You are like the second person that showed me, because I had a friend that's like older than both of us who showed me them too, because she likes just songs like this and Britpop. And I remember like thinking to myself, I am surprised you're letting the Black Lady sing so much.
00:59:58 --> 01:00:27 Come to find out the black lady was writing all the songs. So kudos there. I know that sounds so messed up. Like if you, if you don't understand, not shame on you, but like y'all come on, they're a girl group. First of all, they're a pop girl group. And she's like head songwriter for this girl group. That's right. That's super rare. Even now. And then for her to be the black member, the only black member to be, have that kind of power and sway within the group is, it's really impressive. Even with my like little criticism here and there, it doesn't mean she's a bad person. It's just, it's, it's,
01:00:27 --> 01:00:45 Wow. You know, it's impressive. This is a song that utilizes all of their voices, which means she is very much capable of doing the four person baton pass. Yeah, I wish it would happen more. You know, here and there, you can appreciate it, obviously.
01:00:45 --> 01:01:04 And just understanding what your girls' voices sound, like how they sound in certain parts. And just, it takes a little bit of extra work, but when you take that time, you get songs like this. Again, this could have been a single overhooked up. I've said it about 3000 times. There could have been a single overhooked up. Like the whole take you by your soul, make you lose control. Oh my God.
01:01:04 --> 01:01:18 There's not a single lady now that I can think of that I do not think about this. Like, oh, yeah, I'm trying to be in control. I'm this girl. I'm that girl. I'm going to snatch him up. We all do it. We all do it. It's fun. It's very...
01:01:19 --> 01:01:36 like assertive, it's sexy, it's cool. It's just, it's fun. And I think the vocalizing after that first chorus is so fun. The ahs and the bass line before the music falls away and like, please forgive me. I was like, oh, go off, go out.
01:01:37 --> 01:01:59 Moments like that is what I want in this song. It's so well written. It's fun. And again, you're like, who's that? Who said that part? Because I caught myself being like, wait, who said that part? Because I didn't recognize who it was. I'm like, it's not Shaz. Oh my goodness, who is that? It feels like rock and R&B combined to make this badass track about a romp. Nothing sincere about this. It's just confident and gimme, gimme, gimme. Booty call is quaking in her boots.
01:01:59 --> 01:02:22 Yeah. Oh, yeah. This is a good booty call part two. Yeah. So 10 for me. 10. Ooh, I will give it a nine. Yeah. And actually, I do have a question for the fans because I've seen people say they actually did perform this once on TV, but no one has ever like ripped it like it digitally. So putting it out there. Someone find this performance, please.
01:02:23 --> 01:02:52 Bring it, bring it. Oh, man. Okay, so that is the end of the standard album. There are, of course, a couple bonus tracks that are on the UK version of the album and on the singles as well. Yes. But we will discuss that in our Patreon-exclusive bonus episode. So if you want to hear us talk about some great bonus tracks, actually, definitely head over to patreon.com slash CCTV Puss. But for now, we're now at our Cut or Keep section. So...
01:02:52 --> 01:03:20 If you had to cut a song off this album, what would you cut and why? Okay, so. Oops, I'd be cackling like that's terrible. Oh my goodness. If it wasn't obvious. It's Hooked Up. Get a bye. Goodbye. Like y'all can do so much better. I feel like, I mean, there's another song I was thinking of, but I feel like you're going to say it anyway. Yeah, Hooked Up can go. Because why is she there? Oh, I wonder if we're thinking of the same one. Because I will actually cut I Feel You. Is that what you were thinking? Yeah, okay.
01:03:20 --> 01:03:50 it was dragon ass yeah it's a little long and i feel like there are some amazing all saints ballads and melanie written ballads as well especially when you get into some of the later albums and so this one i don't need it i don't need it okay if i had to keep a song let's do not the singles oh yeah i guess for me i won't do a single because i would obviously choose one of
01:03:51 --> 01:04:09 I think I'm going to keep Saints and Sinners. Yeah. Because it's the most fun I've heard from them, aside from Lady Marmalade. Yeah. I mean, I agree. I think it could have been a single as well. Yeah. I think that, yeah. Great, great. Oh, man. Okay, so that's the second album. Yeah. So what do you think? Final rating, overall thoughts? Yeah.
01:04:09 --> 01:04:28 Yeah, so I'm not gonna lie to you. When I listened to this album, Pure Shores played, I was like, Lord, I don't know if I can get through this album. Because like I said, this is for me, my sensibilities. I was not in the mood. I was not having it. Pure Shores is not my favorite song on this album. And I'm probably like, why could you be so daft? It's number one. Just because y'all liked it back in the day.
01:04:28 --> 01:04:56 You know? So I think, even still, I can appreciate that the song is well written. So I was like, oh, man, I don't know. I don't know about this one, big dog. But then I got to the album, and I was like, okay, wait, it makes sense with the whole project. It's not just like this outlier. Because I was so, I really honed in on album number one. So I came in thinking it was going to sound similar to that. So when I didn't receive it, that was my fault. I should not do that, because I know as an artist myself, I don't want people to expect the same thing.
01:04:56 --> 01:05:20 So I should have been a little bit more like open to the idea. And then William Orbit, a name that did not come to my mind. I was like, okay, okay, whatever. Duh, should have realized. And I think that would have helped me listen to it with a little bit more open ears. But eventually, obviously, I came around because none of my scores even hit 6.5s. Didn't get anything below 7. So I think it's a good album. It's a solid album. It's a shame that this was kind of like...
01:05:20 --> 01:05:37 the last album before like Studio One, because that large gap, there's so many sounds and things they could have explored, you know? But obviously you leave to come back even better or, you know, the album didn't do that well, Studio One, unfortunately, but you leave to come back with newer informations, different ways of approaching things. So,
01:05:37 --> 01:06:04 It's cool. This album's solid. I will say it's solid. Yeah. I do think it's solid. I don't think it's as good as their first album. Yeah. I think what I had mentioned earlier, where you do kind of have the William Orbit kind of sound, even in the songs that he wasn't involved in, then you still have KG there to kind of keep it with the older sound. I don't think it's a very cohesive album. Like, it is kind of them...
01:06:04 --> 01:06:24 I do wonder what the conversation was or what those types of pressures were where they were like, we need half this album to sound like William Orbit, regardless of whether he's involved or not. And that's maybe where that push and pull came from. Because I wonder what Chazney wanted to do without those influences, right? Yeah.
01:06:25 --> 01:06:40 I do think the first half is a lot stronger than the second half. Like that middle section of the album does kind of, I don't know, it's not as good. But I think as a whole, it's still not a bad project at all. I do think it's their worst album out of their five.
01:06:40 --> 01:07:02 Hmm. Interesting. Yeah. And then as we get into the bonus tracks, I think some of them are a lot better than some of the tracks on the album as well. So, yeah, I pretty much just I think I also just associate this album with how unhappy they were as well. So that might be another side to it, too, where you could tell that they just weren't like really in it anymore.
01:07:02 --> 01:07:31 You know, valid. Valid. But, you know, I still really like this album. I still think some of the songs on here are some of the best, like, across All Saints discography. Okay. See, I guess as a whole, I will give it an 8. Ooh, I didn't give my score. Ooh, you know what? I'm in the middle of the road. I'll give it a 7.5. I feel like there is some potential here and there. Yeah, so it's right in the middle. Just shy of. Because of the bonus. Because of the bonus. You're so right. You're so right. Yeah. Oh, man. Okay, well...
01:07:32 --> 01:07:59 Please join us over at Patreon to check out our discussion on the bonus episode. But until then, let us know what you all think about All Saints' second album, Saints and Sinners. Please let us know in the comments. And also let us know what other albums you'd like to hear us review. Or we can even go into the solo All Saints stuff. Let us know. Definitely hang out with us and the crew on Patreon. And of course, you can message us at CCTV Pops on social media. Don't forget to like, subscribe, and turn on notifications for our
01:07:59 --> 01:08:13 YouTube channel. If you're enjoying the show on a podcast platform, please give us a follow, rating, and review because it really helps us on the algorithm. So until next time, that's Chantel. That's Chris. And we're signing off from CCTV, the nonstop pop show.