Time to dig into the glitter and cheese because we’re reviewing "Steptacular" by STEPS, one of the great albums in British pop history. In this episode, Chris and Chantel Nicole go track by track through STEPS’ sophomore effort, giving their brutally honest takes on the vocals, production, lyrics, and signature camp. Is Steptacular just pure Y2K cheese, or is it actually a refined British pop classic? Let’s find out.
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- 0:00 - Intro
- 1:50 - "Steptacular" Album Info
- 2:37 - Album Cover
- 4:32 - "Tragedy"
- 13:26 - "After The Love Has Gone"
- 19:35 - "Love's Got A Hold On My Heart"
- 26:06 - "Say You'll Be Mine"
- 32:38 - "I Think It's Love"
- 35:55 - "Make It Easy On Me"
- 40:16 - "Deeper Shade Of Blue"
- 46:40 - "Movin' On"
- 50:03 - "Never Say Never Again"
- 53:13 - "When I Said Goodbye"
- 1:00:06 - "I Surrender"
- 1:04:01 - "Since You Took Your Love Away"
- 1:09:07 - "My Best Friend's Girl"
- 1:15:30 - "You're Everything That Matters To Me"
- 1:20:15 - Cut or Keep
- 1:23:00 - Overall Thoughts & Final Rating
References:
- “Tragedy” MV https://youtu.be/OiwDHHcHPh0?si=q85C1brf66r6Cwpr
- “Tragedy” Live at Party on the Dancefloor Tour https://youtu.be/cOM0cfVmfhQ?si=fJy9Kto-AlfyFPTL
- “After The Love Has Gone” MV https://youtu.be/iz36fINs_YY?si=ExulGfY52kEOVJkU
- “After The Love Has Gone” Live at What The Future Holds Tour https://youtu.be/yB4KwpuBeDQ?si=FUQ23UtYzqYOkhg6
- “Love’s Got A Hold On My Heart” MV https://youtu.be/iG_-m-mBn-g?si=_QGnsxT9kJj_PHro
- “Love’s Got A Hold On My Heart” Live at Blue Peter https://youtu.be/EIwF6N8VvSg?si=JmDOptFovfb1ijj4
- “Say You’ll Be Mine” MV https://youtu.be/EDZoefLylcY?si=QLqWn0q7BEUNCulM
- “Say You’ll Be Mine” Live at Steptacular Tour https://youtu.be/UoTrgehfQBY?si=FcFQnSt19BpGXFIv
- “I Think It’s Love” Live at The Next Step Live Tour https://youtu.be/keI3ZmoFze8?si=iESNnyEk8yFKL4Of
- “Deeper Shade of Blue” MV https://youtu.be/0RtjfvK7rXw?si=gRtV3KJ9cQjEq1d0
- “Deeper Shade of Blue” Live at Party on the Dancefloor Tour https://youtu.be/2-yjV5NC7q8?si=ruO0ZU2TdOHcU6KY
- “When I Said Goodbye” MV https://youtu.be/M_G0t4qB3Bc?si=gtsPR3_Bcvw1wF5E
- “When I Said Goodbye” Colour MV https://youtu.be/fOc_0t0YuOo?si=JEu4-OkeTnKmjM6g
- “When I Said Goodbye” Live at Top of the Pops https://youtu.be/w6kHMEzwb3A?si=dBZjFw7sm3Qjwunf
- “I Surrender” Live at Steptacular Tour https://youtu.be/LNIHZKX4rc4?si=5hrO-UmiPQ4PZjhe
- “Since You Took Your Love Away” Live at The Next Step Live Tour https://youtu.be/JPDaYUN0CYc?si=yrxos25vWkU0U5Ls
00:00:00 --> 00:00:09 Step started as a line dancing cash grab, but ended up topping charts specifically with their second album. So let's get into it and talk about Steptacular.
00:00:11 --> 00:00:35 We have reached over 4 subscribers on YouTube. Thank you all so much for joining the CCTV crew. And we're also getting a huge increase in listeners on podcast platforms too. So thank you all so much for listening to us on any of those of your choice. Make sure to give us that rating and follow. When you share the episode, it really helps us grow and get into the algorithm. So thank you everyone for listening.
00:00:36 --> 00:01:06 Yes, absolutely. And a special shout out to our Patreon crew members, Emily, George, Lily, Julianne, Jonathan, Jasmine, Janelle, Darius, Wren, Hillary, TKO861, and Joelino. And don't forget, you can join our Patreon at patreon.com slash GCTV Pops, where you get to help us choose episode topics, see what's on our schedule, and also get episode shout outs. Not only that, it's exciting. It's so exciting because you get to kind of be a part of our episode and give us your opinions.
00:01:06 --> 00:01:34 Yes. So we have reviewed quite a few Steps albums so far on our show. We've done What the Future Holds, parts one and two. We've done Step one. And we also, of course, went through the What the Future Holds tour track by track of the set list. With the one and only Steve Anderson, Steps, and Kylie's musical director. So definitely go check those out if you haven't. And of course, big shout out to Can't Stop the Pop. We also did a pop-off series with them where we had the S Club album.
00:01:34 --> 00:01:48 or S Club 7 singles face off against steps. And we all got to share our opinions. So go check that out as well. That was so fun. Yes, Craig, Maddie, we miss you. Had a good time. We have to have another episode like that. We should have another episode for a different group.
00:01:49 --> 00:02:14 Yes. Okay, so Steptacular. Let's talk about it. It was released in October 1999, and it is Step's second studio album and stayed at number one in the UK album chart for three consecutive weeks and was certified four times platinum. And following the huge success of their debut album Step One, the album continues the group's blend of signature dance pop tracks and more adult contemporary ballads.
00:02:15 --> 00:02:37 So during this time, the group was insanely busy, so much of the creative direction was left to Pete Waterman and their management and label. So we will now go track by track and discuss the production, vocals, lyrics, and whatever accompanying media and give our ratings for each song. Viewer discretion is advised. Your fave will be criticized.
00:02:37 --> 00:02:51 So first, let's discuss the album cover with the group in colorful outfits arranged in a grid-like formation similar to the Brady Bunch, I guess. And then H has his arms coming out, pointing to the Steps logo.
00:02:51 --> 00:03:12 You know, he is the usher that Usher wish he was for the We Are the Champion cover. He wanted to be in the middle. Yes. We are the champion. Yes. Actually, I can't wait to do our eventual pop 101 of steps because there is a reason that H was put in the middle. We'll kind of allude to a little bit as we talk through some of these songs, but...
00:03:12 --> 00:03:26 Ooh, exciting. Guys, listen, step fans, leave it in the comments below if you want us to do that full pop 101. But yeah, so I think this is interesting because it gives a summer vibe. It's not just their heads. We finally get...
00:03:26 --> 00:03:53 the little bit of the torso too wow amazing like we're graduating from torsos um you know claire's wearing a bikini um lisa has this little peephole cutout like it's kind of like oh we're a little bit more grown up like it's summertime fling summertime vibes for lack of a better word but yeah i think that's kind of cool that they have that it looks a little bit more like personal and not just like simulated heads on a cat on an album which i preachy
00:03:53 --> 00:04:20 It kind of balances the whole, like, we're slightly more mature, but we're still so very colorful and kids can still buy this album. It kind of balances those two things pretty well, I would say. I do, of course, have to show, I do have the special box set version of this album. And I've only just learned that this is only released in a few places, Hong Kong being one of them. So I, of course, do have, and this is, here's the album booklet. Yeah.
00:04:20 --> 00:04:40 So maybe I should do like a little unboxing. Let me know. Oh, that'd be fun. Let me know if you want a little unboxing. Because apparently, yeah, this is like actually a very special version of this album. And I had no idea. Not that it will ever happen. This is just what was in the stores when I was nine. Let's hop right into it and get into Sceptacular's track listing. Starting with Tragedy.
00:04:40 --> 00:05:06 And this was done by Barry and Robin and Maurice Gibb of the Bee Gees with Steps Versions production by Andrew Frampton and Pete Waterman. This was released in November 1998 as a double A-side with debut album single Heartbeat. The song was eventually also included on reissues of Step 1 internationally. And the double A-side peaked at number one in the UK and also number one in New Zealand.
00:05:07 --> 00:05:23 Yes, and the music video features the group members preparing for weddings and includes cameos from the members' families and also Pete Waterman as the wedding DJ. And of course, the iconic hands-to-the-face dance move was inspired by the Home Alone movie poster.
00:05:23 --> 00:05:43 with the hands over his face. Macaulay Culkin's, you know, scream painting face. Yes. And it was actually originally recorded for a Bee Gees tribute album, but has since become one of, if not the most, signature steps song. Yeah, I think so. Pretty iconic. I think so.
00:05:48 --> 00:06:18 I remember you showing me this video and it didn't like occur to me that it was big. It didn't occur to me that it was huge. It's BG's cover. I appreciate it so much more now. And I think it's like now that I recognize their faces and their voices and like we've spoken to Steve about the music. It's like this is a good song. They did a good job performing it. If you're going to sit there and be ABBA on speed, this is the best way to do it. Find, you know, groups that have harmonies as well and recreate it. And it's so good.
00:06:18 --> 00:06:36 Faye, she glides across the verses and then Claire comes in with the full power vocals. And then you have the others doing synchronized disco one-on-one steps when they're performing it, which is completely fine. It doesn't have to be complicated. It should be able to be repeated. The Euro pop drama...
00:06:36 --> 00:06:55 With the beat drop. We love that. We love that. And of course, the hands to the head move is like a rite of passage for weddings and discos. It's immortal. It's ubiquitous with this song. And I think it's a really solid track for them to have. The topic of the song is actually kind of sad too. It's like...
00:06:55 --> 00:07:10 Crying in the club music, for sure. And it's always so strange to see them smiling while they're singing. Even the music video, while the lyrics are just talking about this heroic relationship, like you're going nowhere. Like, it's just like, it's really sad.
00:07:10 --> 00:07:39 Yeah. It's really sad. I mean, even listening to the Bee Gees version, I mean, yes, it's definitely a bit more melancholic. Yeah. Their version. But it's still, like, upbeat, and it still has the whole crying in the club situation, for sure. Shout out to Can't Stop the Thought, who did tell us, you know, we're both obviously not British, so we don't really know how the song is, you know, for the general public over there. And they told us that this has kind of become a cheesy wedding song a little bit. Huh?
00:07:39 --> 00:08:00 So a lot of the fans there are, yeah, not as excited about this one. But for me, this was such a huge part of me becoming a fan of Steps, you know, like I had moved to Hong Kong the summer of 99. So really only, you know, six months or so after this song came out and it was playing everywhere. Yeah.
00:08:00 --> 00:08:28 That's amazing. I remember watching that music video along with a few of the other ones as well. So yeah, I feel like I have just so many personal ties to it that I'm biased about it. But even just listening to it objectively now, they did a great job turning it into this whole 90s Euro dance pop situation. I agree with you. I think the girls sound really good on the leads. I, of course, wish the harmonies and stuff were pushed up a bit more in the chorus. But now that they are singing it live, you know, you can really...
00:08:28 --> 00:08:53 hear those five-part harmonies yes um and so yeah i think it's great it's just so catchy and fun even though it's so sad i guess lyrically yeah they're miserable but it's a pretty undeniable hook yes yeah like it's hard not to at least at the very least remember it even if you don't love it you know like oh yeah like for some
00:08:54 --> 00:09:07 And then now when people hear it, literally their hands just automatically go up. I've had a few friends do that, which is very funny. I'm going to see steps and they're like, tragedy. Okay, so the music video. What'd you think of this wedding situation?
00:09:08 --> 00:09:26 Oh, what a mess. What an absolute mess. In a good way? Yeah, no, it's just so funny, because I think one thing about this group, unless you're, like, purposely trying to be serious, you're not going to get a full serious video. You're going to get some antics here and there. The boys are running late for the wedding, which I think is so crazy.
00:09:26 --> 00:09:50 um am i wrong when i said that the um that the the parents like phase was that phase dad in the video yeah all their i think all their parents or at least most of their parents and family are all in the audience yeah yeah i think that's so like hey hey you want a moment you know so i think it's like it's very cute you know but i i thought it was when i was watching the video that there was going to be like a little bit of like a same-sex scandal going on in the video i was like oh
00:09:50 --> 00:10:19 But then it turned out, no, you're running away from getting married. They're tying the guy up in the video. There's a lot going on in this video. The boys are saving the woman from the toxic men they're about to marry. Yes, which I appreciate. But I remember watching it and being like, what is happening? I thought it was like a little twist like that. Yeah, I think the video is true. It's on brand for them. Like they didn't leave behind the concept of the silliness. You know, I'm glad there's not a lot of green screen in this era.
00:10:19 --> 00:10:47 but uh you know there's a lot of practical just things happening they're in the church they're on they're in the town it's a it's just a fun video and i appreciate that they're not taking it too seriously and then trying to like translate the lyrics via music video format you know yeah so yeah we we appreciate our friends saving us from terrible men um we love that for them um tie them all up and throw them all in the confessional wherever the heck they were stored
00:10:47 --> 00:11:12 Yeah, big shout out to the little Doraemon alarm clock. Oh, yeah, so cute. Yeah, I think it's super fun. Like, again, I just have it so ingrained in my memory of the women all, like, walking down the aisle. Especially Claire, she looks so happy. She's singing. Yeah, she looks so happy walking down the aisle. And then I also, I feel like...
00:11:12 --> 00:11:32 I almost forgot that you actually don't see the chorus choreography until the very end. Like, they aren't really pushing the choreography. And it's kind of amazing that it's purely kind of from that scene. And then I guess the eventual performances and stuff that that move just became so iconic. Because it's not like they were doing that move. The whole time, yeah. Of course, they had the shots of the audience doing it.
00:11:32 --> 00:11:59 Yeah. At certain points, which is very fun. That's kind of amazing that it didn't feel too forced that they were trying to turn it into a thing. That everyone knows this move. It was like, yeah, it happened. It feels like it must have happened quite organically, which is kind of awesome, you know? Yes. The reception dancing. It makes sense, you know? Yeah. So what did you think of all the performances and stuff through the years? Oh, man. It's good to hear...
00:11:59 --> 00:12:28 vocals actually being distributed in terms of harmony. Because we all know, like, Claire is going to sing lead. Faye is going to sing lead. We get that. But in terms of having how many bodies on stage, like, harmonize. So the evolution of the songs have been fantastic. And I think the most recent iteration with the giant LED wedding cake was good. The outfit reveal under the wedding dresses was great. Love Claire's bodies. Love the girls' outfits underneath. But it's nice to actually hear the men also singing. You know? It doesn't feel like...
00:12:28 --> 00:12:41 lead singer and friends it feels like we're an actual group we're contributing here so i think as it's progressed it makes sense to have the guys also a part of it oh yeah um and singing some of the leads live as well so it's nice
00:12:42 --> 00:12:59 Yeah, big shout out to Steve's version now that has all the wedding bells and stuff. Yeah, yeah. But yeah, this song has basically become their concert closer, you know? It almost feels wrong when it's not the concert closer. And they've mentioned this in interviews before where they were like, you've tried putting it like at different parts of the set, but it just feels...
00:12:59 --> 00:13:16 Like this kind of has, this has to be it. You know, it has to be that final moment. Yeah. And it works. It works, you know. Every time. Yeah, there's just like so much inherent energy to it. And yeah, it makes a great climax. So. I agree. Yeah. So I'm here for it. I for sure give this a 10.
00:13:16 --> 00:13:35 I give it a 10 as well. If you guys didn't see me, if you're listening on Spotify, I am, or wherever you're listening to podcasts, put my hands up in the dance and flash the 10. All right. Now we have After the Love Has Gone. And this was done by Mark Topham, Carl Twigg, Lance Ellington, and Pete Waterman.
00:13:35 --> 00:13:52 And this was released as a single in October 1999, peaking at number five in the UK singles chart. And due to the instrumental's Asian influence, the dancer team, music video, and visual aesthetic were inspired by various Asian cultures. And the music video was filmed at Universal Studios Florida on a Chinatown set.
00:13:57 --> 00:14:26 Yeah, this is the oops, we're sad moment, which I appreciate. Like, genuinely sad. Because you all know, like, you know, the Bee Gees cover is tragedy. The song just sounds sad. But this is their original song. So now it's like, yeah, we're sad. But yes, every time we cover Steps, I'm, like, not fresh off the edge of a breakup. But, like, guys, go back in our history of, like, watching Steps videos. And I seem, like, very tied to, like, the whole, like...
00:14:26 --> 00:14:52 can't let you go songs um i'm joking i'm totally joking but for whatever reason it's so funny the timing of like things being broken off and like months later we're doing steps happens every second time um the song is a definitely a soundtrack to a little breakup moment um it sounds so sad in the beginning and it's really minimal but then when the the beat kind of kicks in i do appreciate that there's a steady beat there and not like this whole cacophony and
00:14:52 --> 00:15:15 explosion of like euro dance which then keeps it sounding a little bit more mature and not like you know like eighth grade prom or secondary school prom which i appreciate um like it's nothing too dynamic it is high energy but it keeps a very steady pulse you know sad lyrics but your feet don't get the memo yeah so claire gives off like the really like wounded belt very well she's good at the whole
00:15:15 --> 00:15:35 like emotive singing she's so good she's so good um but yeah it sounds like she found someone's dms and she's very disappointed in them uh but i think sonically it does sound like another song to me um which one from the first album i can't put my finger on it i mean one for sorrow
00:15:37 --> 00:15:59 Oh, yeah. You know what? Yeah. Yeah. You guys should listen to our review for sure, because I definitely got my feelings with that song. But yeah, I mean, this kind of has the same feel, but it's not as like it needs to be danced to. Like, I don't remember the dance to this at all, which is good. So it wasn't like, let's focus on the dance. I know there's some hands here and some tutting here, that and a third. But like in terms of like, you have to know the dance. I don't feel this way about the song.
00:16:00 --> 00:16:26 Yeah, I mean, this song is clearly an attempt at one for sorrow part two. I'm not mad at that, actually, because I do think melodically and stuff, it does stand on its own. Like, it's not like a direct derivative. I think the most similar, like, yes, it's similar in kind of structure. And of course, Claire is singing lead on the whole thing. And you again kind of have the Fae doing the lower harmonies on it. Like, the whole structure of it is very similar.
00:16:26 --> 00:16:45 But I think melodically and stuff, it does stand on its own. Mm-hmm. And then the whole, like, quote-unquote Asian influences throughout, like, the instrumental and across all the visuals and stuff. I personally am not offended. For those of you listening, I am an Asian person, so I feel like I can say that. You are? For the people listening. Yeah.
00:16:46 --> 00:17:14 I will say the dance routine, though, it is a little like, oh, let's do like this random Indian thing. And then now we're doing like kung fu arms and stuff. So it's a little, you know, oh, you're just like combining every single Asian culture. But it's a little fortune cookie. I'm not mad at it. You know, I'm not mad at it. It's not it's not done in an offensive way. Lisa is like a fourth or an eighth Chinese or something. So at least there's some sort of connection. Yeah.
00:17:14 --> 00:17:43 It could be much worse. There's been much worse throughout pop history. So I'm not offended by this one. That is so funny. The one drop thing is hilarious. No offense to Lisa. The what? The one drop thing you just tried was great. I love that. I believe I agree. I'm not Asian as well. But after looking at it, I thought, okay, so they're on a lot. They're wearing, is it the keep out? Like the traditional dress? It is cropped. And I get it. That was the thing in the early 2000s. Yeah, they're styled. Yeah, yeah, yeah.
00:17:43 --> 00:18:10 Yeah, I appreciate that there were any chopsticks and hair. You know, like it wasn't, not any, but like there wasn't like, oh yeah, let's do Chun-Li buns. Because, you know, I feel like it was just like an episode in Charmed or something or like Sex and the City where they just wore the outfits were in Chinatown and there was a little dancing dog. So for me, I feel like also it wasn't like they were playing too much in it. It was almost like they were tourists. Yeah.
00:18:10 --> 00:18:39 Yeah, totally. And I'm kind of okay with that. And like all the kung fu scenes and stuff I thought were fun. It was not done in an offensive way, I don't think. They weren't like making fun of the culture at all. And I will say because I was living in Hong Kong at the time, like this song was, it was played everywhere. Like, you know, I think people appreciated the reference, you know, the nod to their culture because they actually were quite big in Asia, you know, so.
00:18:39 --> 00:19:04 So yeah, I think the song is great. I think it has a great melody to it. And it's grown on me as I've gotten older as well. And a lot of that is to do with the performances too. Because, yeah, I love that 60s version that they did on the last tour. Yeah, that one was really good. With the key change, which if you'd like to learn more about the key change and kind of the mechanics behind it, go check out our interview with Steve.
00:19:04 --> 00:19:33 yeah I don't know I think the melody of it yeah maybe just the lyrically I connect to it a bit more now so yeah I actually really like this one now yeah this one like I said is a lot more chill version of One for Sorrow like One for Sorrow is like remember the dance? Too Too Bad this one I just know the song so yeah I give it ooh it's kind of tough cause mmm I'm gonna give it an 8.5 for now like my mind may change but like I'll give it an 8.5
00:19:34 --> 00:19:55 Okay, I will go nine. Nice, nice. All right, up next is Love's Gotta Hold On My Heart, and this was done by Andrew Frampton and Pete Waterman, and it was released in July 1999 and peaked at number two in the UK singles chart, notably blocked from the number one spot by Ricky Martin's Livin' La Vida Loca. And this video was filmed in Cannes.
00:19:55 --> 00:20:07 France. And the visual aesthetic is often referenced by the group due to the extremely bright yellow worn by the group. So if you know this video, you know it's just sunny delight everywhere.
00:20:12 --> 00:20:33 So this is one that I can do the choreo in my sleep. So, really? Yeah. I know this so well because this, again, I moved to Hong Kong in the summer of 99. So what was the single at that time? This one. You know? So I remember also watching this one along with Tragedy quite a lot. And that's what made me go buy the album and the single. You know?
00:20:33 --> 00:20:47 That's valid. But yeah, I actually really like this one. Like, it's so happy. But again, it does feel slightly more mature than what was on the first album. Because I think melodically it has a bit more of a ride to it.
00:20:47 --> 00:21:11 Like, for example, the verses are kind of a bit calmer. The pre-chorus has a really nice build to it. And the chorus is very simple, right? It's just like those two lines that lead straight in from the pre-chorus. So in terms of the structure and stuff, it's just not exactly the very typical pop structure. Yeah. And then, of course, Lisa has some very iconic whispers in here. S.O.S. S.O.S.
00:21:11 --> 00:21:34 Oh my gosh. For ASMR. Yes, it's so good. She makes those moments count. And now they've become kind of iconic. Like everyone at the concerts and stuff will like say those with her. I mean, it's like Kimberly, you know, with the girls allowed. You want to make that moment. Oh boy. Yeah, exactly. Exactly the song. Yeah. What do you think of this one?
00:21:34 --> 00:21:49 This is like steps in textbook form. If you're like, how do I write a steps song? You know, it's bouncy synths, some wiring disco strings, and just a little touch of the cheesiness that comes with the Euro pop. But yeah, I think this is...
00:21:49 --> 00:22:07 I wouldn't say it's candy-coated, or kind of is a little candy-coated because of the adorableness of the lyrics, where it's just like, at one point, I think the lyric says, trapped in the fairy tale for forever. Like, it's cute. It's like a princess Disney song, almost. I remember I was listening to this, and a friend of mine was like...
00:22:07 --> 00:22:26 Oh my God, what are you watching? I'm like, what do you mean? I just started singing like a whole new world. I don't know why, but the song is like giving me like Disney princess or something. I don't know. And I'm like, yeah, it really, it is giving that. And if you tie in that adorable dance equipped with the finger whirling and the shoulder bouncing, it's very hard to avoid the song. And...
00:22:26 --> 00:22:49 its effect on you. I think Claire on lead, it has a very, I won't say very, it's slightly theatrical in its delivery. It just sounded like musical theater. My friend and I were like saying that. We were like, it sounds like it's getting musical theater. She's like, yeah, it is. And then of course, Faye is singing really well as well. And I love the bridge with the ha, ha, ha.
00:22:50 --> 00:23:06 The ha-ha-has in the bridge always send me. Because it's very, like, low effort. But it's effective because we know the song. But yeah, no, I think this is really cute. I think the video is really very yellow. Gosh.
00:23:07 --> 00:23:29 not a bad thing but it's giving butter it's i'm not mad at it though butter lemons it's supposed to be sunshine and sunflowers maybe yeah butter lemon sunshine sunflowers every yellow emoji on your keyboard it's giving that you know and i'm not mad at that because they look happy this is finally a song where they're not getting broken up with amazing um
00:23:29 --> 00:23:49 And then the music video is also full of those antics where they're coming into town, everyone knows who they are. Beyonce, Beyonce, how does it feel to be in Paris? Like it's giving that and they like trying to run away. They're running away from the pops. You know, it's fun in nature and it's not serious. And apparently we got teased with the Steps movie that never came out. How dare they?
00:23:51 --> 00:24:13 Yes. Oh, man. I love this video, actually, because it does feel just like so summery. And I do love that they went to France to film it, too, like right at the film festival was happening, too, just to really like get in there with the vibe of it all. Yeah, I feel like the yellow is pretty. I mean, they always joke about this now, more so these first two eras where literally they didn't really have any characters.
00:24:14 --> 00:24:32 like stylistic. Oh. Like between the five of them, it wasn't always like the same style. It was just as long as it was the same color, they could kind of wear whatever they wanted. Oh my God. So every song just kind of has a color. You know what I mean? Like after Love is Gone was like the teal, the turquoise. Yes. You know.
00:24:32 --> 00:24:47 And so, I mean, I'm not gnat at it. Like, I can visualize that so well. Like, Claire with the little pigtails. Oh, my God. Yeah, with the cowboy hat. Yeah, the cowboy hat. Yeah, yeah, yeah. So I think it works. And I love the whole peer...
00:24:47 --> 00:25:07 Dancer Teen right it's giving kind of you know sometimes Brittany as well but more summary a little bit more summary than that one yes yeah and I love again I love that Dancer Teen again I'm biased because I can just do the whole thing and I learned it when I was like nine but I think this one's effective you know again it's memorable yeah
00:25:07 --> 00:25:26 Yeah, the bouncing. It's, like, creative. It doesn't feel too... Like, it feels like it was really thought through, actually. And there's, like, a lot of formation change and kind of movement through it. Now when they perform it, they just kind of go with the mic stand thing because now they're singing it live. Yeah. But, you know, Faye and Claire...
00:25:26 --> 00:25:50 They're a great combo, you know, not to take away from, of course, the other three. But there is a reason that for a lot of these songs, it is the two of them. You know, we always say they were like ABBA on speed, right? And they kind of have that same dynamic that the two women in ABBA had. Yeah. And they complement each other really well. So, yes. Yeah. But I love this song. This is one of my favorites of theirs.
00:25:50 --> 00:26:07 Oh, yeah. I think, I'm not sure. Oh, what was the S Club song that was a guest song? I don't know. But if I said I didn't, if I didn't pick it, I kind of swear to maybe apologize because this one gets a 10 for me. I like this one. Mm, yes, this one's also a 10 for me.
00:26:07 --> 00:26:31 Now on to Sail The Mine, done by, yet again, Andrew Frampton and Pete Waterman. And this was released as a single in December 1999 as a double A-side with Kylie Minogue cover Better The Devil You Know, which we will talk about when we do the Buzz album review, so stay tuned for that. This peaked at number four in the UK singles chart, and the music video features the members spoofing a number of popular films.
00:26:31 --> 00:26:49 This is the Everyone Gets a Line anthem. Equality never sounded so sweet in bubblegum pop. I think this is... It's breezy...
00:26:49 --> 00:27:14 Um, it has like that little like, uh, uh, ace of bass bounce to it. Um, yeah. Yeah. Because I was trying to figure out like it's giving group project in terms of like line distribution, but I can appreciate the swing and then the bouncing in this one. Uh, this one, I will say it's, uh, it's like early Disney song or like any kind of, um,
00:27:14 --> 00:27:35 You know, like those movies like Quest for Camelot or The Princess Swan, like these kind of movies that went straight to video that had like a song for the princess, like the I Wish song and like the I Just Met You song. This is the I Just Met You song. Because you have like these little duets coming back and forth, back and forth. Yeah.
00:27:35 --> 00:27:59 So yeah, I think it is not a bad song. It has a nice swing to it. It feels almost like campfire-y. Almost like the camp counselors at the end of the season start singing together. And it's like their goodbye song. You know? So I don't know. I don't dislike it. It's just one of those songs where I'm just like, okay, this is not bad. It's okay. It's nice to hear everybody.
00:28:00 --> 00:28:28 That's true, yes. Yes, the line distribution, we appreciate it. I think, is this the only song on the album that Lee gets a line in? Yeah, yeah, yeah. So yeah, it's very refreshing to have a vocal arrangement that all five get to feature in. Great harmonies in there too, where you can... Yeah, they really utilize the five vocals here, which is great. I get the Disney...
00:28:28 --> 00:28:57 Straight to VHS situation. I get it. But I'm not mad at it. Like, I think it is a good song. Like, it's definitely more tame and energy compared to the last few songs we heard. Yeah. So it does stand out, I think, in the discography in a good way. And even in the instrumental as well. Like, there's a little lick of electric guitar in there. Like, there's some organic elements in here. It's not as Eurodance-y as kind of some of the other stuff on here. Yes.
00:28:57 --> 00:29:13 Yeah, you know, I think it is a good example of just, you know, the typical 90s cheesy bubblegum pop music. Like this song, I feel like it is one of the better ones. Like if you were to try to group that whole category together, like I think this one is a pretty good one if you were to...
00:29:13 --> 00:29:34 judge it along with those that's valid um and yeah i do think i do think this one is kind of more underrated in their discography as well uh but when they did it on the last tour the crowd was loving it actually so maybe i'm wrong i don't know yeah um yeah what do you think of the music video with all the spoofing
00:29:35 --> 00:30:04 Oh my goodness. I think it's so cute when you have so many pop culture moments like that in one video. I feel like there hasn't been a music video like this in a while. There isn't an iconic rom-com. There hasn't been one in so many years. You can always spoof a superhero or maybe some old legacy movies. But it hasn't been done like this in a while. So it's so fun to watch this. And now that I'm older and I've seen some of these movies, like something about Mary, I finally watched it. And I was like...
00:30:04 --> 00:30:28 I get it. You know, so it's like doofus, crude comedy. Like Austin Powers is in there. I do believe Pearl Harbor as well. So you have all of these iconic movie references. That's really fun. I think Faye in that Austin Powers wig is hilarious to me. I think it's great. Did you have any favorite looks or favorite references to the movie?
00:30:29 --> 00:30:59 I mean, I kind of just love the whole end when they all start laughing. Oh, yeah. You know? Yeah. I feel like those are all just the best parts. But, yeah, I think it's great. Like you said, there were just so many iconic films of that time. Because those were all relatively modern movies at that point, right? Released within a few years. So the fact that they can reference all those, and we still know every single one of those now, like, that's crazy. I know. You know? But, yeah, all the Titanic stuff I thought was funny. Romeo and Juliet.
00:30:59 --> 00:31:19 like Claire and H with the aquarium thing. Some silly. Some really, really funny moments. Yeah, just, it's just fun and creative. Like with such a cheesy pop song, like why not reference all the cheesy rom-coms that were out at the time, you know? True that, true that.
00:31:19 --> 00:31:36 And then the dance routine. I remember this one just standing out because they would actually sing this one live. Yeah, this is one of the ones that usually was sung live. Handheld mics. Yeah, we got the handheld mics. They only needed one hand to do the time. Yeah, the time. Yeah.
00:31:37 --> 00:32:07 And yeah, again, they pulled it off because I think at that point, right, most of them, most of their performances were lip synced up to that, you know, for most of their stuff up to this point. So to have them actually sing it live, all five of them having solo lines, having kind of really actually intricate harmonies in there and being able to pull it off. They sound so much better now than they did back in the day. But even then, honestly, it wasn't that bad back then, you know. So, yeah, I enjoy watching all the performances of this.
00:32:08 --> 00:32:36 Agreed. Agreed. I think overall they perform things really well. But when they actually got to sing, there was a little bit more of a life breathed into the performance. But yes, I think with the video, I forgot to mention, instead of Yellow Alphas, we got Gold. But yes, it's not a bad song. It is sweetened sentiment. And the video, I think, carries it a little bit more for me than it stands alone. So I give it an eight. It's not terrible, but, you know, it's kind of just not bad.
00:32:36 --> 00:32:57 Yes, I will go 8.5. Next is I Think It's Love, and it's done by Lance Ellington, Mark Topham, Carl Twig, and Pete Waterman. And the lead vocals are performed by Claire. And this was also her solo performance on the Next Step live tour.
00:32:58 --> 00:33:28 You know, it's giving kind of sparkly sweet filler. Can't I? I think it's kind of, it reminds me of one of those soundtrack background songs. Like it kind of has like a, like an adult contemporary thing going on, which I can understand. But it's a little slowish. It's not bad. I think it kind of wants to flirt with the idea of being R&B. Really? Maybe a little. Yeah.
00:33:28 --> 00:33:56 A little, like it's sort of with the idea of trying to be an R&B song. Like an R&B ballad. Not like a whole, like, you know, I'll make love to you. Not like Babyface would write. But it's not super poppy, which I appreciate. It's okay. I think what saves it for me is the harmonies. Claire can obviously sing. I appreciate it, but it's okay. It's okay. It's okay. It's just fluffy for me. It's kind of just there.
00:33:57 --> 00:34:19 Yeah, I mean, the production is so quintessential 90s, right? Like it has that ethereal keyboard. Yeah, the tar solo. Yeah, it's got those clicks. So maybe I can kind of see where the kind of R&B influences might be, but it felt more like an attempt at like a, you know, like a Celine Dion reject or something from that time, you know?
00:34:19 --> 00:34:37 That makes sense. But yeah, yeah. Claire sounds great. Very delicate. Very sweet. Because I think the whole song is... Yeah, it sounds like someone falling in love for the first time, right? I think it's love. Like, I don't really know what I'm getting into. And she portrays that well. Like, it does sound quite innocent, I would say. Yeah. Yeah.
00:34:39 --> 00:34:56 While it's technically a solo track, I guess, you do have, again, Faye harmonizing with her on the first chorus, and that's a beautiful blend right there. And then we also get H singing the octave in the bridge with her. Which was good. It kind of just keeps you interested when you hear another voice.
00:34:56 --> 00:35:23 Yeah, that's what it is. Yeah. And then Claire gets to really show her range. You know, it starts off very delicate, and then she does get to do the big belts and stuff by the end. Mm-hmm. You know? So, yeah, it's harmless. You know, it's not terrible. I wouldn't say I would ever skip it if it just came on, really, but I would never seek it out. Got you, got you, got you. And then the performance was fine. Yeah.
00:35:24 --> 00:35:52 You know? Yeah, I mean, it's just here I am on the stage, kind of, it felt a little talent showy. I think it's just kind of like, I can really sing really well, I'm just walking kind of around on the stage, like, you know. Yeah. Yeah, I mean, she brings, like, the fan on stage, you know, midway through, but then it's, like, kind of awkward. I don't know. It was fine. She looks great at pink, though, so go off, sis. Okay, so I'll give it a seven. It's harmless. It's fine.
00:35:52 --> 00:36:16 I'll go to 6.5. And now we're listening to Make It Easy On Me by Stock, Aitken, and Waterman. And this song was actually first recorded by American R&B singer Sybil, and it hit number 52 on the US Billboard Hot Black singles. But the Steps version is led by Lisa. So Lisa gets a solo moment here. What do you think?
00:36:16 --> 00:36:34 Make it easy on me. Wow, thinking of hot black singles. If you're listening or watching the episode, that's me. It's so crazy to think about what these charts were called before people were like, you know, it's like awkward, right?
00:36:34 --> 00:37:01 Because what the actual F? You know, Sybil, if you're not familiar with the name Sybil, she has a song, Don't Make Me Over. So she sings that song. That's the one I'm familiar with. So when I saw the name as the original singer, I was like, oh, let me take a little listen. The song itself is just okay. And they kind of stick a little bit more true to it in terms of like...
00:37:02 --> 00:37:23 The way it's sung? Well, Lisa's not like, you know, I'm going to belt my little face off. She can sing. But this one is a little bit more controlled. I appreciate that her voice isn't trying to be super big. It's sweet. I do like the mix of the background vocals for this one. I think I like the sentiment of this song. It's like, listen...
00:37:23 --> 00:37:38 Please don't waste my time. If you don't like me, free yourself. Please free yourself. You don't have to be gentle. Just go ahead. Just do what you got to do. So I do appreciate that. It is, it feels like the song overall feels like a quiet storm R&B pop.
00:37:38 --> 00:38:05 Um, I kind of said like, it's giving like a good, like good-ish version of the SWV cover, but it's not like, it's not bad because SWV is like a girl group, if you guys don't know, and they do a lot more harmonies with Sybil. The track is not really giving that, at least with this. We have some harmonies. I'm just giving you like a 90s girl group to kind of reference. Um, but yeah, I think I liked it and I appreciate that they didn't stick too strongly with like, hero dance pop, dance pop, dance pop.
00:38:05 --> 00:38:23 It's like, it's okay to have a little bit of R&B thrown in there. And yeah, I think having Lisa lead it is probably not the best thing to do, but it's a smart thing to do. Because her voice fits. I mean, out of all the vocals, this one makes sense for Lisa, actually. Because she is a little... She's not as...
00:38:23 --> 00:38:43 Theatrical, really, as the other two. You know, she's a little bit more nuanced, I would say. And this song is perfect for her range. Like, it sounds quite effortless here. And she kind of goes into her blend and stuff quite nicely. So they didn't try to do too much with ad-libs or anything. It's all just kind of easy listening and kind of chill. Yeah.
00:38:44 --> 00:39:12 I will say, I had no idea this was a cover, literally until we were doing research for this episode. I had no idea. You know, I think, I mean, P. Waterman, obviously, SAW or Stock Aiton Waterman, they're known for Kylie, really. Yeah. You know, all the early Kylie stuff. And I knew that they had kind of attempted with some American artists, but it just wasn't a world I ever dealt into. Yeah. I know they did a documentary kind of recently, and I still haven't watched it. I actually have...
00:39:12 --> 00:39:29 get downloaded to watch. But yeah, I need to kind of get into their history because it's kind of fascinating, right? Like you have this random song they did for this American R&B artist and they were kind of smart, right? Like it's like this didn't really do anything in the UK. So let's reuse it and give it to...
00:39:30 --> 00:39:59 give it a new life, you know? Yes. Yeah. And, and yeah, I, I'm here for, I'm here for Lisa getting a little look in, you know, cause it really isn't. Yeah. She's still kind of shafted a lot over the main tracks. And, you know, of course you were complimenting Faye and Claire, but Lisa can stand up to them. Like now when they do kind of the three part kind of, you know, women moments in the newer step songs, like she's up, you know, she can hold her own there. Yeah. She holds it down.
00:39:59 --> 00:40:14 So yeah, I think this is one of the better of the solo tracks here. Yeah. For sure. I think it's pretty good, I would say. It's not like my favorite, but it's a nice scratch at the surface. So I gave it a 7.5.
00:40:14 --> 00:40:33 Okay, I will go eight. Up next is Deeper Shade of Blue, and this was done by Mark Topham, Carl Twigg, and Pete Waterman. And this was released as a single in April 2000, peaking at number four in the UK singles chart, shockingly. And it was originally recorded by Tina Cousins, though her version remains low.
00:40:33 --> 00:40:49 largely unreleased. And the song and music video are noted for marking a shift in steps, sound and aesthetic, embracing more club elements and a more adult image. And the music video features the members transforming into characters reminiscent of Thunderbirds.
00:40:55 --> 00:41:14 This song is so good. It's so good. I assume when you meant earlier that it's a shame it didn't go higher than number four. But, you know, the album was out at that point. So it's one of those things where it's like, you know, people also are just buying the album, too. So I think the song did its job still.
00:41:14 --> 00:41:44 You know, but I actually feel like I actually appreciate the song more now as an adult than I did when I was younger. Because I think now knowing the trajectory of steps, you know, of course, as a nine year old, I didn't understand that the song was so important to the group sonically. Yeah. Like when the group talks about it now, they're like, yeah, we like really were pushing to be a little more mature. And this does balance it well.
00:41:44 --> 00:41:58 happy happy bubblegummy oh yeah right even the melody itself is a bit more serious like it's not like you can actually tell that there's a there's a pain there it's not just like you know with a smile yeah
00:42:00 --> 00:42:24 And then, of course, now is the start of H getting more lead vocals over Faye. Right? And again, this is what I alluded to with the album cover. There are reasons for this, that H started getting pushed a bit more. So just keep tight. Just hold tight. We will talk about this when we do our Pop 101, because that's where we talk about all the business-y stuff. But...
00:42:25 --> 00:42:54 You know, of course, I'm not going to say that H sounds bad because he doesn't at all. Him and Claire have a great dynamic together. It's different from the dynamic that Faye and Claire have. But it is nice to have kind of a male voice here. Again, if you have it, why not use it? He sounds good on the verse and the whole blend of the chorus and everything. It sounds great. We do get Lee quite prominent in the harmonies, at least here. So I think pushing up H also gave Lee a little bit more opportunity here, too. Oh, yeah.
00:42:54 --> 00:43:24 Yeah, I love this one. I feel like it's one of those songs I never get bored of. Mm-hmm. I think for me, if it's not scared of the dark, I usually go for one for Sorrow or Deeper Shade because of the waving hand situation. This song is amazing. If you can tell by the introduction, I don't think my squirrel will be a surprise. But yeah, I like H's voice because he does a good, like...
00:43:24 --> 00:43:44 this is not whiny, but he does a good emotional vocal well. You know, like in the first verse, he sounds like he just got through crying. And they said, start singing. When Claire comes in, she sounds like really sultry there. And I know she probably didn't mean to. And maybe she did. I don't know. But something about the way she's singing is very like,
00:43:45 --> 00:44:03 You know, like in the 90s, y'all, when they would have like the black singer singing on like, you know, one of these dance tracks like Sybil, don't make me over. She sounds so like sensual, even though she's sad about being changed for this person. It sounds really good and soulful. Claire sounds like this on this track. Yeah.
00:44:03 --> 00:44:24 You kind of just shouted out a bunch of stuff that I liked about the song. The video is epic. The uniforms, the set design is fabulous. I want my very own Fifth Element flight attendant outfit so badly. And then the choreo was obviously iconic. I think just the sharpness of everything after the flowing in the hands.
00:44:24 --> 00:44:43 I was going to ask for a sink. Y'all are going to watch the episode when we do stuff. Episodes. I'm so sorry. But yeah. Do you have a favorite alien look? Because I was watching it and I was like, hang on. They're all iconic. They're all iconic. I would say Lisa having to paint her body blue, though. Oh, yeah.
00:44:43 --> 00:44:56 pretty amazing. I do love Faye as Medusa though. It's so great. Like the spiky stuff all over. And of course, you know, this was a little sexier for Lee as well. Oh yeah, it was awful.
00:44:57 --> 00:45:22 yeah um so honestly all five of them killed that and yeah i think the whole like how did they come up with the whole thunderbirds kind of blue and red outfits like i i don't know how i mean it's iconic now yeah but like i can't imagine like ever thinking of that so kudos to all the creative directors behind this they did such a good job team was doing right by them i would say yeah that is iconic for sure
00:45:22 --> 00:45:50 And then live as well It's always such a moment live It's all just so dramatic Even the way it starts Yeah I'm Acapella that's so dramatic Before the beat kicks in The harmonies are so great You have the bridge Summer is over It's so sad and dramatic And again this is another song That just has such an energy to it So it just goes off live
00:45:51 --> 00:46:06 And I feel like they've almost turned into more of like a classic as they've kind of come back these past few years because they perform it like in all the medleys and stuff. Like it's clearly a favorite for them. And I feel like they've actually made the song bigger.
00:46:07 --> 00:46:32 since the comeback yeah that's valid because i feel like every time i've seen it it was a performance like the concert videos so yeah oh okay that's so valid it's a good song though so they did what they had to do okay all those the songwriters and producers good job uh what do you give it i mean obviously a 10 i would get higher if i could i know can you imagine 11 like yeah
00:46:33 --> 00:46:56 100 100 is crazy Okay Moving on to track 8 We have Moving On You like that pun? And this was done by Sarah Dallin, Karen Woodward Mike Stock and Pete Waterman And this was actually originally a single For Bananarama in 1992 Which hit number 24 in the UK singles chart
00:47:01 --> 00:47:18 So yet again, we have Pete digging into his catalog and seeing what he can repurpose for steps. I don't know how I feel about this. You don't know how it feels like SM with the, hey, are you a Swedish pop artist and your song didn't do anything? We'll take your song. I'm just going to say.
00:47:20 --> 00:47:36 You know, this reminds me of like a gym warm up song. You know, if you didn't ask for it to be on the playlist, but like you'll you'll you kind of like you'll do your aerobics to it. Yeah, it gives me like gym workout. It's kind of jock jammy in terms of like the bounce. Yeah.
00:47:36 --> 00:48:01 I can't lie though, I think I might actually prefer the original because I do appreciate the vocals being sung together in unison. Because at this point we're listening to the album and it's like, okay, can we get a little bit more of Pairs singing together during the verses? As opposed to this one at a time situation. I think it maintains the Steps style. But again, is it any different than what we've heard already? No, no.
00:48:01 --> 00:48:21 no, no, not really. It has that quick tempo, the busy sense, vaguely chaotic energy. Um, but I do believe that unlike the banner, banana Rama version, it is refined with the usage of one lead singer in the verses. And then the harmonies put in the chorus. So the chorus kind of pumps it up and gives it that more of a group vocal. Like, Hey, we are actually a group. Um, yeah,
00:48:21 --> 00:48:48 But yeah, I think that is kind of, it's not bad, right? I won't go so far, like I hate the song, but I do wonder what would have happened if they would have kept with the whole double singing situation. You know? Yeah, you're right. That would have made it stand out a bit more. Yeah, because even with like 5, 6, 7, 8, they actually were singing as a group, you know, like in the chorus. Yeah, yeah, yeah. But maintain that like, you know, paired vocals or like group vocal. But yeah, just curiosity's reason, I think it would have been interesting. Yeah.
00:48:48 --> 00:49:06 but not a bad song. Yeah, I mean, it does feel quite safe, right? Like, it does feel like, oh, like, we need more stuff for this album. They already did Last Thing on My Mind, you know, the last album, so let's do another Bananarama cover, you know? So it does feel a little...
00:49:06 --> 00:49:31 Yeah, like it's kind of just like Steps by the Numbers, but like not as good as their original stuff or not as good as the singles. And yeah, it's definitely, definitely just an album track, I would say. But it does have a good pop melody. You know, it is quite catchy. There is something ABBA-esque about the melody of the song. So I get why he was like, oh, Steps could do this well. And of course, Faye and Claire do sound good. Yes, always.
00:49:31 --> 00:49:58 But yeah, this one does feel a little like, oh, we need stuff to pad out the album. So here it is. Yeah. Yeah. But I don't think it's a bad song at all. Yeah. No. I mean, it charted. So that's good. Well, for a Bananarama. For a Bananarama. I mean, Bananarama. It's hard at one point or another. So A. A. Get it in the UK. You know? Yeah. Yeah. So I'll give it a 7.5. I don't mind it.
00:49:58 --> 00:50:08 I'm a little bit below you, but it's just kind of down the road, middle of the road for me. So it's seven for me. Okay. Up next is Never Say Never Again. And this was done by Andrew Frampton and Pete Waterman.
00:50:12 --> 00:50:39 How do we feel about this one? Because now we're stepping into an actual, this sounds like ABBA. Like I felt very... Oh yeah, right. I said moving on was ABBA's, but this one is very ABBA for sure. Very. But I actually really like this one. You know, it's kind of, it's kind of in the same vein as Love's Gotta Hold, right? Yeah. Like a little bit more mature than the stuff on the first album, but extremely accessible. So this one does feel like a more thought out album track, I would say. Yeah.
00:50:39 --> 00:51:07 I also love... So H gets his little opening little run. And he gets some little ad-libs and stuff throughout. Which, again, that's just refreshing, right? Like, we're kind of used to the Faye and Claire dynamic. So at least bringing in a little bit of different stuff throughout is good. And he sounds good there. Lisa, again, gets shafted, though. You know, she gets to whisper, never say never, at the beginning. And then you kind of never hear her again. Yeah. And then, I mean, Lee...
00:51:07 --> 00:51:27 Did he even record on these songs? You know, like, I don't know why they shafted him so much. I guess you do hear a male octave in the chorus, but that might just be H, you know. Yeah, I don't know. I think the song is good. It's got a lot of energy to it. The chorus is very catchy. Yeah, I think it's a good steps track.
00:51:28 --> 00:51:53 Yes. You know, I think the song sounds so dramatic in the keys, but then you have that Euro pop bounce of it all disguising the uncertainty of the lyrics. You know, the song wants to be emotional, but the melody is almost too peppy to sell the sadness. But luckily, Claire brings that vulnerability because you're listening to it and you're like, girl, are you really sad? But then you actually hear her voice. It's like, OK, she's sad. And then.
00:51:53 --> 00:52:06 I actually said Lisa backs her up with emotional ASMR. So that's why I'm calling it her emotional ASMR. As she taps in here and there with her words. Oh, man. Honestly, I'm not going to lie to you. If I was a girl group...
00:52:06 --> 00:52:34 member and i got those parts i don't think i'd be complaining again i just want to be in the room i just want to tour so yeah i can imagine eventually being like okay can i sing a little bit but if this was my part and i get to be like the hot like yeah yeah absolutely i think sonically this feels like tragedy sequel for the album oh pianos um and then it's also very close to love's
00:52:34 --> 00:53:03 it's very I had my heart broken and I'm actually having a hard time accepting your love. So I don't know if this is going to work. Oh, like the song is very like, yeah, kind of sort of in one foot in one foot out. And I appreciate that. But yeah, I think as a almost like a sonic callback to tragedy, it does a really good job of kind of like being an answer to it. Obviously not the same, which I appreciate. So yeah, I like this one. Okay. So what do you rate it? I should give it.
00:53:04 --> 00:53:32 I'm going to give it a 9 because Tragedy's a 10, so I'm going to give it a 9. It's not like perfect, but it's good. Okay, I'll go 8 for this one. Now we have When I Said Goodbye done by Mark Topham, Carl Twigg, and Pete Waterman. And this was released as a double A-side with Summer of Love in July 2000, which yet again, if you want to hear us talk about Summer of Love, you got to come back for the Buzz album review, which people do eventually.
00:53:33 --> 00:53:57 And this single peaked at number five in the UK singles chart. And the music video was shot in black and white in Rome, Italy. And they actually released the color version in 2022. Oh, yeah. When they did the ultimate collection. And the track was actually reproduced for the single with a full live orchestra. So the version on the album is a little different from the single version. So, yes. What do you think of this single? When I say good.
00:54:00 --> 00:54:23 Okay, I remember me saying something about this track for the pop-off. And me saying like, oh, it's okay. I think this is the album. Now that I hear it in context with the album, this is the album's big ballad moment. You know, cue the wind machine in the flowing fabrics. This is the first time Steps like Sonic there absolutely.
00:54:23 --> 00:54:42 Actually trying for that maturity where they're stripping away all the sense and the quote unquote gimmick of their concept. And honestly, I think it works because you do have vocalists in this group who can carry a song without the electronic, you know, enhancements, if you will. Mm hmm.
00:54:42 --> 00:55:03 And I think the lyric, I really didn't mean it when I say goodbye. Oh, my goodness. Like I said, I didn't give it a chance when we did our S Club pop off battle, but I think I've come around to liking it. H and Clara lead it with very believable restraint, where it sounds very regretful, but still emotes well. And I think the harmonies throughout the track make it feel even more sentimental, make it feel more...
00:55:03 --> 00:55:25 fleshed out where if it did end up on a soundtrack, I wouldn't be mad. Like, this belongs in the movie. They just broke up. Oh my gosh, we need a trap because they're both regretting their decision. I do wish that Claire would have brought out that late act belt after the bridge. It would have taken it home with the regret, I feel. But I think the whole, like, laid-back approach, for lack of a better word, laid-back, but the whole...
00:55:26 --> 00:55:51 more somber approach is good. And because I am used to that AC ballad, big belt at the end of the bridge moment, as cliche as it is, it's there for a reason. It's meant to break your heart. It's meant to be the, oh my gosh, me too moment. And I didn't get fully there, which does affect my score a bit. But in terms of like the song, it's really not that. I enjoy it. I think it's probably the stronger ballad on the album.
00:55:52 --> 00:56:13 Yes, I agree with you. Definitely probably the best ballad on the album. I do see why it was chosen as single. I remember at the time, again, because I was nine years old, I was like, really? They went with this song as a single? But, you know, again, thinking about it more strategically now, it makes sense. They're trying to seem more mature. They had released D4 Shade of Blue right before that, right?
00:56:13 --> 00:56:35 So then they're kind of like, look, we can actually be on AC radio. Like we can pull off something different than what you were expecting. And it's not just like a dancing or crying in the club ballad. It's like an actual ballad. So again, I think as a way to just kind of show their versatility and stuff, I think this is actually a really cool release for them. Uh-huh.
00:56:35 --> 00:56:53 The single version with the updated instrumentation is so pretty. Like you really get to hear all the different instruments throughout it. It's so dramatic. And it's much more heartbreaking, actually, with the full orchestra and everything. So I'm glad that the label put the funds behind it.
00:56:53 --> 00:57:17 Oh, you know. And yeah, I agree with you. The whole dynamic again between Agent Claire is so good here. Like it does sound heartbreaking. Yeah, the harmonies as well are great. I will say when they sing it live, though, you know, Lisa, Faye and Lee all kind of give themselves more moments, you know, some extra ad libs and stuff, some extra harmonies across the verses. Yeah.
00:57:17 --> 00:57:35 And they perfected that more as they've sung it more recently as well. Like that version that Steve did where it's kind of like kind of a mix of it. Like it's kind of a piano ballad that the strings and stuff were still there. Like that version is so pretty. That's like the one that I actually listen to more now. Yeah.
00:57:35 --> 00:57:54 But yeah, I do think it's a beautiful song and it is another one, obviously. I think I just, I do appreciate this much more now as now that I'm older. Because yeah, as a kid, this kind of just went over my head a little bit. Oh yeah. You know, you're older, you're, you know, you experience life. Yes. Yes. What'd you think of the black and white music video in Rome? Yeah.
00:57:55 --> 00:58:25 You know, it reminds me of that episode of the Powerpuff Girls where they are. So, yeah, the video for When I Said Goodbye reminds me of the Powerpuff Girls episode where all the color gets sucked out. The town. Oh, my gosh. And then Bubbles has to sing, you know, Love Makes the World Go Round and bring the color back. You literally took out everything that made steps, like, visually them. There is no yellow. There is no blue. There is no green. There is no teal. There is literally just black and white in vocals.
00:58:25 --> 00:58:50 the most ancient looking city you can find. And they were like, hmm, Rome, let's do it. Um, yeah. Like, I don't want to call it drabby, like that's not the right word, but the sense is when you left my life, I regret when I said goodbye, the color has left. So it's very on the nose, which I appreciate, but it's also kind of funny because it's like, you don't need grayscale slash black and white to make something come across as serious.
00:58:50 --> 00:59:11 But I mean, the color version is actually nice. They weren't wearing any, like, bright colors to come across as, like, immature, like, you know, prom dresses. It was very, like, serious, you know, adults in the city, which I appreciate. But yeah, the colors being missing is hilarious to me. But yes, I remember seeing Faye and being like, oh my gosh, with the straight long hair and the, like...
00:59:11 --> 00:59:36 you know and that both her and claire are showing so much of their their bust i was like wow like this is a very different look for them but i agree it just really needs to be black and white i actually really like the color version i'm glad that they released that um because yeah i think the song is sad enough that you don't need to be so on the nose with it yeah yeah yeah um and then this was another song that
00:59:36 --> 01:00:05 you know, was a way for them to prove that they could sing. Right. So they did sing this live on top of the pops and they sang it live on tour and stuff. So, yeah, I think when you look at it in the breadth of their discography, like this was an important one for them, I think. Yes. And I appreciate so much more now. So, yes, I'll give it an 8.5. Ooh, you know, I want to give it a higher score, but I think because I'm missing that big belt moment, I'll just give it an 8. Like mentally, I want to say 9, but I'm going to give it an 8.
01:00:06 --> 01:00:27 Okay. Up next is I Surrender by Mark Topham, Carl Twig, and Pete Waterman. And while the studio version features shared vocals between Faye and Claire, Claire actually performed this as her solo track on the Steptacular Tour live. All right. She says, my song now, girl.
01:00:30 --> 01:00:55 Yeah, I like this one melodically more than the way it was produced. Like, I feel like if this was given the attention that the singles gotten, like a proper single remix, maybe more of a bridge and stuff, I think it actually has potential. But I think the way it was produced, it feels just kind of, I don't know, just feel like an album track.
01:00:56 --> 01:01:20 You know, like there's just like not that much going on in it. And like the chorus is like, I don't know, there's not much dynamic in the way the harmonies and stuff were arranged. Like there aren't really any harmonies at all, really. Yeah. Yeah, I don't know if you don't, you know what I mean? Like I feel like there's actually potential in the melody and stuff here. But it just doesn't feel like they produced, they gave it the same attention that some of the other songs got. So it feels like an album track.
01:01:20 --> 01:01:46 That is valid because like, if it was really like well thought out and like, yeah, let's do something with this. And Claire wouldn't have sung it by herself. Y'all would have given it choreography. You would have given it like a whole, you know, so I get it. Yeah. Yeah. Um, you know, but there are, I, again, I like it structurally as a song, you know, again, kind of has the calmer start and the build or some disco elements here. So again, they really could have turned it into like a full disco moment. I think that could have really worked. Yeah. Um, yeah,
01:01:46 --> 01:02:07 And the performance is fun. You know, Claire with her, like, female dancers and stuff. You know, I'm not mad at this as an album track, but I think it has so much potential. But unreached potential. Untapped into potential. Yes. You know, there's stormy pianos, there's a clap, some disco influences. It feels like it could have been albified even more. Mm-hmm.
01:02:08 --> 01:02:28 And I think my, not concern, but my thing now is like, okay, we get the dance track, we get it zero pop, but why not lean a little bit more into that disco? Just have it be a really true disco track, really get it funky, get into it. But yeah, maybe it was just meant to be an album track. The lyrics were...
01:02:28 --> 01:02:53 are sweet like maybe we're only two halves alone and together we're a whole first verse right out the gate we belong together i surrender you do you do it now too i don't know how i would feel if someone was like listen we're in a situation you like me i like you too i never said i liked you um you can confess but i'm not there yet the volume the volume the harmonies are a little non-existent in the volume department like
01:02:54 --> 01:03:03 Like, I can hear them, but I feel like in terms of, like, mix, it's not great. And then we get a dance break. Okay. Okay.
01:03:04 --> 01:03:33 I mean, Claire does go off in that dance break live, you know? Yeah. The male dancers come and you got that motorcycle on stage, you know? She was giving it. But that's all we're getting. And it's only because of the stage performance as opposed to like, let's just have it on the track. Eh, it's okay. It's not bad. But you said the potential is there, but I don't think it was giving what it could have given. You know? Yeah. So, what do you mean? Okay, so what do you rate it? Seven.
01:03:34 --> 01:03:59 Okay, I'll go 7.5. Yeah. Not a bad album so far, you know? Not at all. Yeah, and that being said, this is not a bad episode so far either. So if you've made it this far, you should already hit that subscribe button. Just join us over here at the CCTV crew. And make sure you turn that notification bell so that you can get the new episode we release every week. Okay? Yes. I'm telling you. Yes, we do. Yeah, you'll get a lot out of that subscription button. I promise you.
01:04:00 --> 01:04:14 Okay, moving on to Since You Took Your Love Away. This was done by Andrew Frampton and Pete Waterman yet again. And this song features lead vocals from Faye. And this was performed as her solo track on the Next Step Live tour.
01:04:20 --> 01:04:37 All right, here we go. It's understated, sad, and surprisingly subtle. Like, finally-ish. I do appreciate how the vocals are a little bit more whispery. There are a little bit more controls here. This is the most minimal on this album.
01:04:37 --> 01:05:00 You have some ambient synths, a slow pulsing beat. I can't lie, the R&B here, because that's what it sounds like it's trying to do, feels a little karaoke-ish. The vocals are not giving that vibe. But for me, in terms of how the... It's something about it sounds so plucky. I don't know. Plucky is not the word. But something about it feels like...
01:05:01 --> 01:05:21 kind of cheesy um like they they turned they changed some of the settings from like you know euro pop to like r&b daw i'm not dawg midi um i don't know i just i don't know i'm not really feeling the the production all that much um i appreciate the intent but something about it is just not clicking with me
01:05:21 --> 01:05:35 Um, but yeah, I, I, I'm feeling the vibes of this one lyrically where it's like, what did, what did they say? I'm not trying to hate you for push me away. It's hard to hide. I know that feeling.
01:05:35 --> 01:05:56 So very well. I'm trying not to age you, but I think I do a little bit. I will say, though, age coming in, sort of, kind of coming in. And the chorus cracks me up because he sounds like a demo vocal they left on the track, which is why I'm kind of just like, eh, with this. Because he pops in and out like, yeah, I'm going to sing some words here.
01:05:56 --> 01:06:12 And I'm like, no, guys, give him at least a response in the second verse or something where he's explaining his position of why he let him... You have the guys right there. That's interesting. I didn't think about it that way because I was like, it's Faye's song. So when he comes in, he's like...
01:06:12 --> 01:06:32 she's like remembering what he said in the past, you know, I'm not actually mad at the way that they did that dynamic, but I see what you mean, but I actually think it's fine. I get it. I mean, you know, when you, if you listen to this right next to, I think it's love, they're actually quite similar. Like they kind of have a lot of the same.
01:06:32 --> 01:06:52 In production, not in the melody or anything. In production, again, those same 90s heartbreak, you know, or well, I guess, I won't say heartbreak because I think it's Love Was Not Heartbreak. I guess just 90s R&B-ish pop ballads like that, again, that kind of like ethereal...
01:06:52 --> 01:07:17 ish um backing track with the synths and that just extreme echo that they put on um yeah so yeah i get what you mean on the production side but i actually like the melody of this one better than i think it's love oh yeah okay yeah i think there's just more of a i don't know it's pretty like there's more just um i don't know it's just a more interesting melody
01:07:17 --> 01:07:45 You know, I think it's love was just very sweet, you know, but this one actually, you know, there's some grit there a little bit. You know what? And that's all it needs to be. I don't think yet, though. Yeah, you're right. Yeah. I just like it more. It is, Alex. Yeah. And, you know, I will always talk about how much I love Faye. Like, she is such a strong singer. Like, I know Claire gets, you know, most of the attention and deservedly so. Like, she is kind of one in a million as a pop singer. Yeah, for sure. Yeah.
01:07:45 --> 01:07:59 But Faye can hold her own, you know? Faye can really hold her own. And she has a lot of range, really, actually, with what she can do with her voice. And I think she is able to kind of showcase that a little bit here.
01:07:59 --> 01:08:17 And the performance always makes me laugh. But Faye sounds great. Look, Faye sounds great, but they made her wear that, like, queen. Yeah, the globe. Like, that evil queen cloak robe thing. Yeah. And then the dancers with, like, the Hoberman sphere things. Okay.
01:08:17 --> 01:08:38 You know, she looks like an evil queen coming in like with all especially with all like the like the dry ice and stuff too. She literally looks like an evil queen coming in to like steal the prince's heart or something. She's actually lamenting, she's like singing about how she lost the prince's heart.
01:08:38 --> 01:09:08 Yeah, she's like, I'm trying not to hate you. And then the dancers have like these little globey things. Yeah. Yeah. Like, this is where your energy is stored. Come back, I'm going to destroy the earth. You know, like, yeah, I get it. So yeah, she sounds great. She sounds great. I do think it's better than I think it's love. So because of that, I will give it an eight. I think it's better than I think it's love. So for that, I actually give it a 7.5. Because I think it's a good attempt. I'm not mad at it. Yeah. Okay.
01:09:08 --> 01:09:27 Up next is My Best Friend's Girl. Ooh. And this was done by Mark Topham, Carl Twigg, Lance Ellington, and Pete Waterman. And this features lead vocals from H and was also the B-side on After the Love Has Gone Single.
01:09:28 --> 01:09:49 Okay, so unfortunately, it seems like every single time H gets a track of his own, it's questionable. Was it track seven on steps? The unspoken. Yeah. Yeah, track seven, that's just what we'll refer to it as, yeah.
01:09:49 --> 01:10:07 watch our episode, guys. Again, we keep saying it, but if you want to know what that means, or if you already do know what that means, guess what kind of score we get that one? All right, so this one I feel like is a little bit of a step up from track seven, right? I feel like it's sonically a little bit better and it doesn't feel so like, you know,
01:10:07 --> 01:10:36 Lolita pop. This one is like, okay, we got something going on. But how do you feel about this track? Because I feel like even though it is a step up, pun intended, from track seven, is it really displaying his abilities? Is it really giving us what we want? Oh, that's a head no. That's a head shake right there. Yeah, not at all. Yeah, I agree with you. H really does get shafted with his solo stuff.
01:10:36 --> 01:10:59 At least with the first few albums, I will say it does get better after this. But, you know, we will talk about the bonus tracks from this era in an exclusive Patreon-only bonus episode. So definitely come over if you want to hear us talk about those. But I will just mention here, To Be Your Hero is so much better than this. So, like, why did they choose this? Okay. Yeah.
01:10:59 --> 01:11:24 Yeah, I don't understand this track. Like, the instrumental is so unserious and bouncy. You know, it's like that synth-y thing. And then, of course, again, he sings a song about cheating. Like, why does he keep getting songs about cheating? And, like, they have to, like, emphasize his sexuality as well. You know? Right. Like, it's just, like, really? Like...
01:11:24 --> 01:11:46 I defended Two Week to Resist, you know, with the first album, because I know you didn't love that one either. But I was like, at least the melody of that one was like pretty great, you know. So I could kind of forgive the topic of it. But this one, it's hard to forgive because the actual melody, again, isn't too bad. But these lyrics are way worse, I think. These lyrics are awful.
01:11:46 --> 01:12:15 Okay, here's the thing, right? Like, there's so many songs like Me and Mrs. Jones and, like, Creep by TLC. I think with this one, because it comes across as so, like, not sentimental, but it's almost, like, regretful. Like, if you're going to cheat, be careful. It's regretful. Yeah, yeah. You know, it sounds like, oh, I shouldn't be doing this. But then the beat's like, yeah, keep doing it. Like, it's just, it's like, it's orchestral and bouncy at the same time. And I think that's what kind of gives it the, you know.
01:12:16 --> 01:12:40 it's not great that you're doing this. If it wasn't like mid-tempo, I wouldn't go so far as like it's up-tempo. It's giving you, you know, cheating in the club. You know, it's not giving like that. I won't go so far as to say that, but it's very mid-tempo, like very mid-tempo, not up-tempo, but very mid-tempo. And it's like- Kind of, but the track is still like a dance track. Yeah.
01:12:40 --> 01:12:49 That's what I'm saying. I'm trying not to say like he was like, oh, yeah, I'm cheating on her. But again, that's my point. It's like the beat is so deceptive. And then he's regretful. Like, if you're going to do it, own it.
01:12:49 --> 01:13:18 Own it. Okay, yeah, that's fair. I mean, okay, to that point, H actually sounds quite good, right? Yes. He actually sounds great executing what he was given. He is emoting. He has a great, clean, like, pop voice. And he does a good job using kind of all the kind of nuances of his tone and stuff throughout here. So he did a great job with what he was given. You can hear the girls in the background here. You know, they're singing that chorus. Oh, my God.
01:13:18 --> 01:13:48 You guys really couldn't give Lee anything like this. It's so mean. Can I tell you something? It's just mean. Can I tell you something? It bothers me because, again, you have another male vocal. Why couldn't he have been the best friend? Although, it's like... Exactly. Come on. You could have turned this into such a cool dynamic. Not cool. I won't say cool because that's just not a great situation. But you could have made it more fun. It irritates me because the girls are also there. But instead, you use them to provide harmonies. Have you seen Grease?
01:13:48 --> 01:14:13 Of course. In Beauty School Dropout. It sounded like they were doing Frankie Avalon's Beauty School Dropout where the girls kind of come and go, Beauty School Dropout. You know, that's what it felt like. But instead, you could have just used Lee to create like this Romeo Santos and Don Omar kind of vibe. Like, guys, if you're not like into like bachata or anything like that. So Romeo Santos is the king of bachata, right? Or known as that. And he has a song called Ella y Yo. So Ella and I. And...
01:14:13 --> 01:14:41 It's about this guy saying, like, you know, I met this girl and like, you know, we're getting it on. And she's really great. And the guy's like, man, listen, I love that for you. That's cool, whatever. But then he's like, yo, the girl's got a man. And he's like, girl's got a man. And then eventually he's like, it's your girl. And he's like, what? So like that song could have been that for this. But instead, they kind of took a really safe thing. And I do not appreciate that the songwriters just wrote this song. It didn't like make it creative because I'm like, you have all this opportunity. I mean, there was a slight key change. Yeah.
01:14:42 --> 01:15:08 there but the song didn't get any bigger um and also songwriters are y'all involved in an affair like which one of y'all like i know it's wrong and he's a friend but some days got an end like hello i'm actually making him a homewrecker um but yeah the potential's there but it wasn't actually like touched and reached for so meh okay so yeah i will give this a 6.5 oh that's nice of you i just gave it a 6.5
01:15:08 --> 01:15:28 You're right, though. There's so much untapped potential. If you had Lee, like, do some dramatic bridge as the friend. Guys, I'm telling you. Don Omar. Listen, y'all. Don Omar. Don Omar. No, I think you're right. I'm going to bring it back down to a six. Not that I'm thinking about it here. Ella y yo is that song. She and I. Come on, y'all. Yeah.
01:15:28 --> 01:15:50 Okay, now we're at the final track on the track listing of Stabitacular. And this is Your Everything That Matters To Me. And this was done by Jacqueline Korsdorfine, also known as Jackie James, Dan Sanders, and Pete Waterman.
01:15:52 --> 01:16:11 Okay, so I've mentioned Disney quite a bit, but this one also feels like that. I'm not going to lie. In the beginning when I was listening to it with the pianos and vocals leading the way in the verse, I thought they were going to hit an I Will Survive moment. And I thought, wow, this would be an amazing way to end the album, right? Because I have never heard this song up until we did this review.
01:16:12 --> 01:16:38 That being said, I like Gloria's track. The song drags on a bit. It really is that mid-movie song where the heroine or, like, the love interest would sing. Like, Megara's song after Betraying Hercules is like, oh, my God, we have to cut the song. But it's like, it's one of those. It's there. Remember it. It's not the I Wish. It's not the villain song. And it's not like the, you know...
01:16:38 --> 01:17:04 Yeah, yeah. It's not the I Wish Are the Villain song, so you don't really remember it. And it's not the fun sidekick song. It's just kind of like, it's interesting. It's not bad. I do like the line that says, you're not everything, but you're everything to me. It's like, you're not that special. But to me, you're special. It's kind of backhanded, but it's honest, you know? I think that's just a strange one.
01:17:04 --> 01:17:33 It's like, you're not everything. Or maybe it's one of those, I'm making it sound at least persnickety and snarky, but maybe it's one of those things where it's like, I don't want to scare you away, but I think you are really important. And I get that. But honey, at face value, it's like, listen, you're not that great, but listen, with me? I think that's great. I love that life. Yeah. Oh man, now that you say that this could have been a whole I will survive moment, I'm like mad that it isn't that.
01:17:33 --> 01:17:52 uh yeah um i mean if they wanted another song so that when i said goodbye wasn't a complete outlier i guess this makes sense right like it does sound like much older people are singing it
01:17:53 --> 01:18:16 hilarious yeah and uh and and i would i will say they execute it quite well though right like fey and claire sound great they're emoting the crap out of it um and then when the harmonies come in for the second chorus like there is a really nice build to the whole thing i will say though it does sound like session singers it like hopefully the other three are at least blended in there this one yeah
01:18:16 --> 01:18:45 does not sound like them really yeah maybe it's just makes that way but i don't know i will say the bridge is probably my favorite part like it's quite full and dramatic yeah and this part for sure reminds me of a disney cartoon like you can totally just imagine an animated princess like running through the forest or something oh my god yeah and then you kind of get this extended you know kind of orchestral-ish instrumental outro yeah
01:18:45 --> 01:19:10 Which is a pretty, yeah, it's a very understated way to end such a high, a mostly high energy album. Yeah, it's less than steptacular for me. I go by. Yeah. It's fine. Yes. It's fine. It's not a bad song. I think it's just not them. You know, it's not what people want from them. And it's not as, uh...
01:19:13 --> 01:19:30 I don't know. I think at least with When I Said Goodbye, it's still a very clear pop ballad. But this one feels like it's trying a little too hard to be super mature. Okay, so what would you close the album out with if you had to pick a song to kind of... I mean, the fact that Just Like the First Time is not on this album is...
01:19:30 --> 01:19:55 is a crime oh that's valid okay hang on wait again we'll talk about in the bonus episode yeah standard track standard track is kind of or you just make when i said goodbye the closer okay yeah if you close out strong with a ballot you don't have a yeah that's valid okay and you have that beautiful acapella when i said goodbye to end it
01:19:55 --> 01:20:13 Oh my god, yes. That would work. Yes, and when the CD moves back around, it goes back to tragedy. Come on, Renaissancey for Renaissance. Yeah. Renaissancey for Renaissance. Come on. Yeah, I love that. Renaissancey for Renaissance. Okay, so what do you rate this one? I am a seven. It's not bad, but it's very just down the road. Middle of the road. I will match you with the seven.
01:20:14 --> 01:20:31 Yeah. Okay, so that is the end of the Sceptacular track list. So yes, we've mentioned it a few times now. If you'd like to hear us talk about the bonus tracks from this era, come join us at patreon.com slash cctvpops. But in the meantime, let's do our cut or keep. So...
01:20:33 --> 01:20:58 If you had to cut a song from this album, what would you cut and why? Oh, and why? All right. So for me, I would cut I Think It's Love. It is not great. And for it to be the AC radio attempt, not great. Your everything is not even like that much better. But it is a little bit better. It's 0.5 of a point better for me.
01:20:58 --> 01:21:28 And then when I say goodbye is the, that's their ballad opus on this, on this album. Like this is their moment, their big balladeer moments. I think his love is like, it's okay. I didn't have much to say about it. And I don't. Yeah, no.
01:21:28 --> 01:21:56 So I guess for me, I'll go a different route, and I would actually cut moving on. Oh. Because I think, you know, you have such high highs with, like, Love's Gotta Hold and stuff. I think Never Say Never Again and I Surrender fulfill the kind of album track. Yeah. Like, the safe album tracks that are so steps by the numbers that if you like steps, you'll like these songs kind of thing. So I think having another Bananarama cover...
01:21:56 --> 01:22:25 Yeah. Not needed. No, you're actually right. And the song for me is like, okay. So I get it. Yeah. So I wouldn't say that. I think even though I like that song more than some of the others, like my best friend's girl, I think it's good that H got his own song. Yeah. Yeah. You know? So, so yeah, I guess I would cut that one. In terms of a keep, if I were to not choose a single, let's try to be a little bit more creative here. Yeah. Okay. I would keep never say never again. Okay.
01:22:26 --> 01:22:51 man i'm looking at it right now i hate that i'm literally looking at my notes for that i was like yeah this is my keep and you said you can choose the same one it's okay all right i'm copying chris all right let's do it i'm gonna keep that song as well because again you know the singles did make this album so it's kind of hard not to go with this i'm gonna copy you chris he's gonna do it do it i will say it's very interesting looking at the streaming numbers like make it easy on me
01:22:51 --> 01:23:12 Has done really well compared to the other album tracks. So good for you, Lisa. Lisa's stands are here. It's a moment. Okay, so this was Step's second album. Yeah. I obviously know this album very well, like almost my entire life. But this is pretty new for you, at least on the album track side. So what do you think? I think this is a solid...
01:23:13 --> 01:23:39 reboot, not reboot, sequel. There we go. A solid sequel to the first album. And considering how they were just supposed to be like a one-off, one-and-done kind of thing, to be able to duplicate the magic and have a consistent sound where I think at one point last episode, or last week rather, when we were filming an episode, I had said, oh, this would have been a great step song. So at this point, like they've established their sound. I have it in my ear.
01:23:39 --> 01:24:09 Like, yes, they have influence from other people. But yeah, after a while, you're able to identify those key factors of a Steps song. So yeah, I think for Step 2 is not bad. It's good, I would say. And I'm excited to kind of climb through more of their albums and see where they went in terms of like their sound. Because again, we only did that pop-off episode. So my information is very limited to just singles. But yeah, I'm excited to kind of delve even more now.
01:24:10 --> 01:24:33 Yeah, I agree with you. I think in terms of it being step two, like it is an improvement on the first album, for sure. It does show, you know, that they understand their sound while still trying to take a little bit of risk and trying to, you know, improve on it and actually grow their versatility a little bit.
01:24:33 --> 01:24:50 You know, I do think some of these solo songs and stuff are a little meh. But I think if you when you think about it in the trajectory of the group, I think it was important that they all got a little moment to shine that they could do some of these slower songs just to show like that they could do it, I guess. Yeah.
01:24:50 --> 01:25:06 So yeah, I do love this album. Obviously, again, I'm biased just because it's, you know, it's one of the first albums that I bought, you know, as a kid on my own, you know, or I mean, not really on my own. Thank you. Thank you, mom and dad. On my own.
01:25:06 --> 01:25:34 But, you know, when you look at the singles alone, that is a solid run of pop singles. Yeah. For sure. So that alone already kind of makes the whole album kind of elevate a little bit, I would say. Yeah, it's awesome. So, yeah, as an album, I think because the singles are so good, I will still give the album an eight. Oh, my God. Yeah, that's my score, too. Like, you know, my lower tracks. If I took off some of these tracks and I didn't think about them. As an overall, hey, this is our sound. Defined.
01:25:34 --> 01:25:57 Eight. Yeah. Okay. Steps fans. Fellow Steps fans. What do you all think about the Septacular album? Let us know all your thoughts on every single song in the comments. Let us know what you would put, what you would keep, what your favorites are, what your least favorites are. We want to hear everything. Yeah. And you can hang out with us and the crew on Patreon. You can also message us at CCTV Pops on social media.
01:25:57 --> 01:26:11 Don't forget to like, subscribe, and turn on notifications for our YouTube channel. And if you're enjoying the show 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.