Sugababes "Three" Track by Track: 2.0 at their peak? | CCTV: The Nonstop Pop Show

Sugababes' "Three" turned the 2.0 lineup of Mutya Buena, Keisha Buchanan and Heidi Range loose on their most confident album yet, and we're going track by track through all of it for a full honest review. Released on Island Records in October 2003, "Three" gave them the UK number one "Hole in the Head," the Diane Warren ballad "Too Lost in You" (yes, the "Love Actually" one), plus "In the Middle" and "Caught in a Moment," a four-single run most groups would kill for.But this episode isn't just about the hits. We get into whether the deep cuts hold up: Mutya's "Maya," the urban-pop swagger of "Million Different Ways," "Conversation's Over," "Buster," and the solo moments each member took. The big question on trial: is "Three" where the Sugababes actually locked in their sound, or is it the singles carrying the rest?Join us on Patreon!: https://www.patreon.com/CCTVPOPS

0:00 - Intro
0:36 - "Three" Album Info
2:08 - Album Cover
3:49 - "Hole in the Head"
11:42 - "Whatever Makes You Happy"
15:30 - "Caught in a Moment"
22:17 - "Situation's Heavy"
26:20 - "Million Different Ways"
30:17 - "Twisted"
33:17 - "We Could Have It All"
36:37 - "Conversation's Over"
42:01 - "In The Middle"
48:15 - "Too Lost In You"
58:10 - "Nasty Ghetto"
1:01:43 - "Buster"
1:06:13 - "Sometimes"
1:10:04 - "Maya"
1:13:53 - Cut or Keep
1:15:26 - Overall Thoughts & Final Rating

References:

“Hole In The Head” MV https://www.youtube.com/watch?v=Lf0tUnUB27I&pp=ygUac3VnYWJhYmVzIGhvbGUgaW4gdGhlIGhlYWQ%3D
“Hole In The Head” Live at the Junior Eurovision Song Contest 2003 https://youtu.be/sZ7P1rYt6U0?si=yw2tleDURCPnvcDw
“Hole In The Head” (with Amelle and Jade) Live at the Sweet 7 Album Launch 2010 https://www.youtube.com/watch?v=uZJ-a4pQwzU&pp=ygUmc3VnYWJhYmVzIGhvbGUgaW4gdGhlIGhlYWQgamFkZSBhbWVsbGU%3D
“Hole In The Head” (with Siobhan) Live at Later... with Jools Holland 2025 https://youtu.be/lREyMC2L2Uw?si=2NsPTPV32fUWTzKu
“Whatever Makes You Happy” Live at Rock Werchter 2004 https://youtu.be/jHrgFFAlZUE?si=li-_hJR3JdxiPirX
“Caught in a Moment” MV https://youtu.be/7pxGZUMv3C4?si=FySMHAfFGYZRGrf1
“Caught in a Moment” Live at Simply The Best 2004 https://www.youtube.com/watch?v=wLmhkvCosG0
“Caught in a Moment”(with Amelle) Live at Yahoo Sessions 2006 https://youtu.be/WS7GKF5Z3xo?si=h1eKJIJ_bx_EJCb0
“Caught in a Moment (MKS) Live at Google+ Sessions 2013 https://youtu.be/sge8CTQuwyw?si=J7qfpa5U8ibJ45Rx
“Conversation’s Over” Live at AOL Sessions 2004 https://youtu.be/bpbN9HZ_7vI?si=ysakvYnmzCG4kBqp
“In The Middle” MV https://www.youtube.com/watch?v=rnHVIuBlAUo&pp=ygUXc3VnYWJhYmVzIGluIHRoZSBtaWRkbGU%3D
“In The Middle” Live at Star Search Germany 2004 https://youtu.be/ueayRygsPRM?si=TlTmmdUPKkW830DS
“In The Middle” (with Siobhan) Live at Isle of Wight 2023 https://youtu.be/xJfVhY3OvFc?si=2zrsIpMrVxKKLLE5
“Too Lost In You” MV https://youtu.be/wo07t6XjNO4?si=ukE6YokP3qZU_izg
“Too Lost In You” Live at AOL Sessions 2004 https://www.youtube.com/watch?v=EBEy5eDvnU8
“Too Lost In You” (with Amelle and Jade) Live at the Sweet 7 Album Launch 2010 https://youtu.be/umhlregVAtI?si=mLlp6ZUV3TuSJb-F
“Too Lost In You” (with Siobhan) Live at BBC Radio 2 Piano Room https://youtu.be/V0sx5PN__14?si=mfE4Wa7FjhNgz6xL
“Too Lost in You” Remix (with Siobhan) Live at Radio 1 Anthems Live Lounge https://youtu.be/ZQlO5P-4jvA?si=rJHnZ5_ISGrbpbBr
“Buster” Live at Rock in Rio Lisbon 2004 https://youtu.be/VGsb2iooVVo?si=3Iwf9LDMw23i7-Zw

00:00:00 --> 00:00:03 Too lost in you

00:00:07 --> 00:00:32 This is CCTV, the nonstop pop show where we provide our unfiltered, honest opinions on global pop music. And we have done a ton of Sugar Babes episodes over the years. We've done a Pop 101. We've done a second Pop 101 with updates. We've done track-by-track reviews of The Lost Tapes, Angels with Dirty Faces, and Taller In More Rays. But our Patreon producer, George, asked for more. So now we're going to do three.

00:00:34 --> 00:01:02 Three. Uh-huh. Yes. Three is the third studio album by Shigabay's release, October 2003, and it was recorded between December 2002 and March 2003. And the album saw the group reunite with their Angels with 30 Faces collaborators, Johnny Rockstar and Zenomania, while also traveling to the U.S. to work with producers Linda Perry and legendary songwriter Diane Warren, a deliberate step toward a more internationally ambitious sound. Hmm. Yeah.

00:01:02 --> 00:01:31 So one distinctive creative choice for this album was giving each member kind of a pseudo solo track. So we'll definitely get into that. And three debuted at number three on the UK albums chart with over 52 copies sold in its first week. And it reached the top 10 in Germany, Ireland, the Netherlands and Switzerland. The album was also certified two times platinum by the BPI in the UK and received a Platinum Europe Award from the IFPI for sales exceeding 1 million copies across Europe.

00:01:31 --> 00:01:50 That's right, and it earned the group a Brit Award nomination for Best Album and is among the all-time top-selling girl group albums in UK chart history. And the album had a planned US release in June 2004 with an altered track listing featuring some of the singles from the Angels with 30 Faces album, but this release was unfortunately cancelled.

00:01:50 --> 00:02:03 So let's dive into the production, vocals, visuals, performances of each song, and then drop our individual ratings. But be warned, viewer discretion is advised. Your fave will be criticized.

00:02:03 --> 00:02:30 Dun, dun, dun. Okay. So before we get started, we're going to talk about this album cover. Because it is important to the artistry of the group. Yes. All right. Yes. We get this cutout situation. Which is interesting because they've actually revisited that kind of style in recent single covers and stuff. But yeah, I think it's pretty memorable. I think the actual images they chose...

00:02:31 --> 00:02:46 I don't love... I wish they chose one where Heidi was also looking at the camera. Yeah, that was my critique too. Because I was like, what the heck? What the heck? Yeah. But she has expressions a little odd as well. Mm-hmm. I mean, I feel like...

00:02:47 --> 00:03:09 I don't know who's picking these pictures, but I mean, Keisha looks good. She does. They're a group, y'all. Like, let's be a little bit more cohesive. I do appreciate the idea of three distinct women, three different styles, the third album. It's futuristic and chic. They're not sitting on, like, you know, a wooden lunch table in the park. You know? Like, they do it on Angel's Dirty Faces. So there's a little level of, like...

00:03:09 --> 00:03:25 You know, and also with the first album, they were all kind of like huddled with Siobhan. They were all kind of huddled up on top of each other. So now it's like we're individuals, but we're all together and we're all kind of styled the same way. So, you know, we're individual women that make an awesome group.

00:03:25 --> 00:03:44 Yeah, I will say, though, they did keep to this kind of style for all the single releases, too. So I appreciated the cohesion there. And all the single covers were a bit more colorful as well. This one's a bit dull. But I think if you look at all of these covers together, it does. It's memorable, for sure. Like, it's very clear. It's an era.

00:03:45 --> 00:04:13 You know, it's an era. Yes. Yeah, this is very true. All right. So let's hop into these tracks. And the first one is Hole in the Head. This was done by Xenomania, which is Brian Higgins, Miranda Cooper, Tim Powell, Nick Kohler, Niara Scarlett and Keisha Mutia and Heidi of Sugar Babes. And this was released as the lead single from the album in October 2003. And this song hit number one in the UK and hit the top ten and a ton of other countries. And this is the only single to chart in the United States hitting

00:04:13 --> 00:04:21 number 96 in the Billboard Hot 100, and topping the Billboard Dance Club play chart. So, Americans, you may have heard this song if you're listening.

00:04:21 --> 00:04:49 Yeah. And Keisha has since revealed that the lyrics were inspired by her relationship with J-Rock from Big Brothers and finding out that he cheated on her. Love that. And the music video does have a few versions. One alternate version noted as uncensored, where Keisha gives the middle finger to the camera in a U.S. version that replaced the more violent scenes with performance footage. I just love that. They tried. They said, listen, y'all can't handle this. Oh, but you miss me like a whole animal.

00:04:52 --> 00:05:02 Before we even get to the song, the U.S. release. So I didn't know too much about it, so I tried to do a bit more research. It doesn't sound like...

00:05:02 --> 00:05:31 They actually did much. It was clearly just the label just kind of tried to send the song out to radio, I guess, just to kind of see what would happen. So they never came over here. It doesn't sound like they ever actually did anything on their end. So it's actually kind of impressive that the song still charted on the Hot 100 without doing any promo. This is true. This is true. I'm trying to figure out if I've ever heard this song ever before you told me, but I don't think so. And I wouldn't even like...

00:05:31 --> 00:05:36 Yeah. Do we think it would have done well had they given it a real push?

00:05:38 --> 00:06:03 You know what? Okay, okay, okay, okay. My notes might reveal my answer. Okay, go for it. Okay, so for me, I like the Ricky Lake mention. Like, my sister used to watch it all the time, and she would have me sat with it. Like, my sister and I have, like, a significant age gap, so whatever she was watching, I'm watching by proxy. So I am in the know. I was like, oh my god, Ricky Lake? Oh my god. Or like Jenny Jones. Have you ever seen Jenny Jones? No.

00:06:03 --> 00:06:25 Okay, there's a Jenny Jones story. She's like a blonde lady who was like, she was good. She was sassy. But yes, the production is like really crunchy and jagged. I like the ska feeling. It's kind of like the ska slash techno production. That's really cool. It's strange, but it makes their sound interesting. I think for me, I always remember the pre-hook and chorus more. Yeah.

00:06:25 --> 00:06:51 It doesn't mean that the verse is bad, but I just think that they are, the pre-hook and the chorus is a little bit stronger maybe. But yes, I think that I appreciate the structure of the song a lot more than I do the whole, I think. Because I do like the chances that each singer gets to perform. And I have to say, I have to shout out Keisha for saying indelicate instead of saying indelicate during the bridge.

00:06:52 --> 00:07:06 Love it. Maybe it's just the Apple version trying to play her. Is that even the right word? I thought she says, can't deal, I quit. Can't deal, I quit. Oh. Well, y'all need to fix the lyrics on Apple Music because I was like, what the hell?

00:07:08 --> 00:07:30 I love you, Keisha. But yes, I feel like this is how you open an album. Like it's immediately, quote unquote, like aggressive. Not aggressive. It's just more like it's more confident. It's assertive. It's immediately catchy. And it's like immediately you're getting blocked type energy. But I do have to say I still prefer round, round. But this is slotted like right next to it in terms of like a sugar baby classic. You can't help it like.

00:07:30 --> 00:07:58 you know sure i love round out a little bit more like that's valid i think i do too yeah but i do love hole in the head i will say um great zenomania production they've done some of this kind of ska reggae ish kind of stuff before for girls allowed as well um so it's funny that they they loved that sound so much but you get the kind of signature zenomania stuff like the twinkly synths with the

00:07:58 --> 00:08:27 I will say I never knew or ever used the phrase hole in the head before I had heard this song. Okay. But now I've actually used it a few times in real life. It's actually a very helpful phrase. That is so sarcastic. Yeah, it's great. I actually do really like the verses in here. I see what you mean because it definitely is a build towards the pre-chorus and the chorus. But I think the lyrics are just funny. Like, I'd sell my ass before I think of you. Yeah, that's crazy.

00:08:30 --> 00:08:58 For all the things that you can do, it's like I would do anything. I would literally sell my booty on the streets. Yes. Yes. I love Keisha's Bridge, though. There's so much momentum to it. I love it. It, Quid, like that kind of drive there. I do think it is among their best singles. Yeah. Not their best best, but among the best. Yes, I think. And I think the music video is fun, too. What do you think of this whole...

00:09:00 --> 00:09:17 goth kind of rock band i like the kind of thing i guess yeah i don't i feel like it's a continuation from the round round they're just not swaying as much you know the round round baby's not the swing i'm supposed to death i love the swing we gotta do it one day just to say yeah

00:09:17 --> 00:09:41 Well, yeah, I do like the video. I do appreciate the effort of trying to make two different versions. But, like, I mean, it's more feisty. Just, you know, just give the hands, you know, just a censor. And, like, make it more feisty. And if it's a violent scene, you know, make it more violent. Like, go for it. Like, America's already really surprised at this point. Like, let the girls have their violent moment in the video. I love the styling for them. I think it sets them apart because it's, like,

00:09:42 --> 00:10:08 You have all these glitter and glam, even here in America. I mean, Crazy in Love, she was dancing in like what? Not Versace. She was dancing in like designer, colorful designer clothes. Like they look like, you know, birds of prey, DC comic villains. Like I'm here for it. You know, the makeup was beat. The girls are doing this now. The eyebrows are plucked, you know? So it's like, yeah, I like it. Yeah. I like it too. I will say I do wish they stormed the stage earlier in the song.

00:10:08 --> 00:10:23 Because I was, like, waiting for it. Because they discover this orgy or whatever's happening. Kind of, like, kind of towards the middle. And it takes them a while to, like, enact their revenge. I'm crying at the orgy. Yeah. I will say also, live. Yes. This song...

00:10:23 --> 00:10:48 is so so good especially as they've kind of developed it through the years i remember there was one year during the ml era when keisha wrote like a brand new bridge for it um yeah and then now she's switched up her bridge as well it's like this it's all kind of soulful for a minute before it kind of goes back which is fun and they always end it with a guitar solo like it's all it's the few times i've seen them these past few years this song always goes really hard

00:10:49 --> 00:11:16 Yes, I haven't heard any complaints about this song in terms of the live performance. And even me, when I watch it, I'm like, wow, wow, wow. I like, it's just, it's fun. Because I feel like the girls kind of get into a little swing when they're dancing too. Yeah. They like it. I feel like they like performing this, much if they love the song. But like, it is nice to watch them perform this and enjoy it. And like, kind of just get into the cheekiness of it. So again, the selling myself before...

00:11:16 --> 00:11:27 before I think of you as amazing. So I think I just like that, the sassiness. So they perform that well. Even with all the interpretations. Okay, so what do you rate it?

00:11:28 --> 00:11:57 Okay, I'll give this one a 9. Not my, like, let me 9.5. I'll give it a 9.5. Like, not my ultimate flavor, because I love Round Round. Wow. That's fair, but I'll keep it up there and give it a 10. Yeah. I'm biased. It's okay. Okay, let's move on to Whatever Makes You Happy. Done by Keisha of the Sugar Babes. Craig Craigie Dodds. Gary Cooper of Sly Fox. Stuart Crichton. Pete Martin and Guy Sigsworth. And this does sample the 1986 hit Let's Go All the Way by Sly Foxx.

00:11:57 --> 00:12:10 And this counts as Keisha's quote unquote solo track on the album. But for them, when they say solo, the other members are still there doing all the background vocals and stuff. So, which I appreciate. Yes, Nicole, take notes.

00:12:16 --> 00:12:36 I do appreciate the actual like, hey, the girls are still here. We're still a group, you know? Exactly. It's very a la Dusty's Child, I would say. You know, like, you know, Beyonce singing, but you can hear Kelly. You can hear it. Even in their version of Dangerously in Love on the Survivor album, Kelly and Michelle are there in those BGVs. It's pretty much present. Very much present.

00:12:36 --> 00:12:54 but yes the production of this is truly 2000s like I'm literally gonna reference my sister so much but like this reminds me of every all like teen movies I used to watch with her like jawbreaker the craft and it's like if they were really trying to be cool maybe Josie and the pussycats like could you imagine this like as a song soundtrack for the movie yeah

00:12:54 --> 00:13:10 It'd be kind of fun. It doesn't matter being a pop star. I feel like it's not a perfect Josie and the Pussycat movie soundtrack song, but the whole vibe of it feeling like... It feels young, but not super cheesy, saccharine like Atomic Kitten would be. This is like...

00:13:10 --> 00:13:34 really strong and bold and it's industrial and wiry and i think that's what makes it so special um and i i've been you know as i've been going through like a lot of these brit pop acts i've noticed like the media was kind of harsh like don't get me wrong here in america too like cut throat cut throat but i feel like in the uk um yes there was something a little bit just a

00:13:34 --> 00:14:03 Yeah, they're known to be the word absolute worst. Oh, really? Okay. Because I was like, I don't want to be like, you know, nasty about it, but like, I just feel like, something's wrong. And I feel like this song is a good kind of like F you to the haters and such. There's a mention of like pop star definitions, like being down to earth and not needing that VIP lifestyle. And I think this track is cool in terms of its meaning, but I don't think the melody is like super outstanding. The bridge is fire, though. The harmonies are amazing. And

00:14:03 --> 00:14:16 They are rejecting everything that does not make them happy. The drama. They don't care about that. The fame. They don't need that. They just want to sing. So it's been about the music. Yes. Not the tabloids, you know? So I appreciate that.

00:14:16 --> 00:14:42 Yeah, this one is fun. I think it's a good kind of start to the album. You know, I agree. I like the kind of industrial kind of zappy electronic effects on there. The bass is like really booming, which is good. And I think the overall arrangement is nice. You have kind of an interesting background vocal. There's like a harmony stack throughout it. And there's a joy to this song.

00:14:42 --> 00:15:04 This album gets a little serious as you kind of keep going. So I kind of appreciate that this one's a bit lighter. And even though this whole idea of, you know, just do whatever makes you happy, don't care about anyone else, all that kind of stuff that can go cheesy very easily, but it kept it very cool. And it's crazy. They're only like 19 or something at this time.

00:15:04 --> 00:15:29 Yeah, so shout out to them for being able to articulate without sounding like super preachy, like you said, or like cheesy. Yeah, and I was watching a bunch of performances of this because they did it all over like the festivals and stuff at the time. And yeah, it's fun. It has an energy to it. So I think it did a good job in the live set as well. So yeah, I think this is a solid album track. I'll give it an 8. Okay, for me it's a 7.5.

00:15:29 --> 00:15:56 Up next is Caught in a Moment, and this is done by Karen Poole, Marius DeVries, Johnny Rockstar, and The Sugar Babes, all three members. And this was released as the fourth single from the album in August 2004, and it hit number eight in the UK singles chart and in the top 40 across Europe. And this song, fun fact, appeared on the soundtrack to the 2004 Wimbledon film, which I think is quite interesting. I've never seen that, so...

00:16:01 --> 00:16:30 Yeah, what the heck is Wimbledon? Anyway, point is, this song is featured on it. And this song, maybe there's a romantic scene because this song is steamy. It's very steamy. And I appreciate it. Like, lyrically, the song is centering on, like, emotional hesitation and release. And, like, there's some intensity here. Yes. Like, the lines, like, dangerous could be deadly. It makes the stakes feel so high. But then it comes on to, like, I'm not scared no more. It feels divine. Like, things like that. It's like, oh. Yeah.

00:16:30 --> 00:16:56 You've surrendered yourself. And I love that there is a progression in the plot of the evening, you know? Being slept with someone is kind of spooky. It doesn't have to be, but if you're kind of like a tough girl, you're like, oh, I'm feeling kind of vulnerable. I think, again, it fits their brand, you know? Like me, I'm like, I think it's so easy. I'm that girl. I'm like the Olivia thing. I think it's easy, but I can understand the concept of being like,

00:16:56 --> 00:17:16 I've been hurt before in the past. Or like, are you going to be here for a lifetime? Not just the nighttime. I don't know. You know, it's plain spoken. It's conversational, but like emotionally, it's like, it's very specific, you know, even though it feels like you're just talking to someone, like we're sitting here and I'm kind of scared of you, but like, I love, you know what I'm saying? But it does sound cheesy. Like,

00:17:16 --> 00:17:34 It does feel intimate. Yeah. Yeah. It definitely feels very intimate. I think it's beautifully done. Yes. It feels beyond their years a little bit, to be honest. And that's a good thing and a bad thing, I think. In this case, I remember when I was younger, I was like, hmm.

00:17:36 --> 00:17:59 would I have chosen this as a single? You know? But now as an adult, I'm like, wow, this song is beautiful. Like, melody, lyrics, the production has some really nice elements with the strings and guitars. It just feels very vulnerable. Like, especially in Keisha's bridge, when she's just like, oh my gosh, it's happening, I can't do anything about it. Like, this is happening. Yeah.

00:18:00 --> 00:18:27 Yeah. And then Mutia on those verses. Yeah. What a great showcase of her tone. Like the rasp is so perfect here. And then you actually get Heidi leading all the choruses. Yes. You know, she kind of naturally has a sweeter tone. And she uses a lot of vocal fry and stuff here. So, yeah, I think it's a really beautiful, beautiful track. I'm still not sure if I would release it as a single. Oh, interesting. But I love the song.

00:18:27 --> 00:18:44 This is that baby-making music that's kind of like, you know, I feel like, you know, even though it's not like, I'm in love with you, take me down. It's not given that, but it's kind of given like, take me down, but like gently. So I agree with you. And I feel like this song doesn't fulfill like, it doesn't have that...

00:18:44 --> 00:19:09 I'm trying to fulfill a ballad quota for the girl groups. Like, it's just, it's cohesive for them because it just, it makes sense for them. It's not super theatrical, which I appreciate. And production note, I love that the drums are very sparse because what happens is like with the lack of drums, like there is like a suspension of time, you know? Like, ooh, caught in a moment. Ooh, because the production's also caught up too. Is that caught up? Yeah.

00:19:09 --> 00:19:33 But yeah, I think this is really cool. And I think the video, I get what you were saying in terms of like them feeling a little bit aged, especially with the video. Yeah. Like the hairstyling, the kind of like diva house, you know, 101 black and white glamour shots. Yeah. Get that shadowy male figure as well. These things are happening in the shadows. Yes.

00:19:34 --> 00:19:50 Very sensual. I saw nipples. I was like, oh my goodness. Put them away. Ew. Leave it to the imagination. No, I'm joking. I'm joking. I do appreciate that. But I will say it's giving like PG-13 movie like smexy time. It's so funny. Yeah. Watching them sing it live is...

00:19:52 --> 00:20:15 Heidi is not a bad singer, right? I think I never really got the comparison, but like watching MKS do it, like the MKS version of Sugarbate. I'm just going to say MKS, because it's weird saying the original, it's weird. She wasn't there for long enough to be seen or just crapping on Heidi like that, you know? So MKS version, like when they first got back together with the flatlining and whatnot, when they...

00:20:16 --> 00:20:45 I got chills. Oh, I know. I hate how... Oh, dang it. I hate that I fell for this propaganda. But it's not propaganda because, like, Siobhan's tone is so, like, perfect. It's like a bell. But that's the thing about having, like, a high soprano. Like Heidi as well. Like, those delicate notes almost make the topic feel like... Like, not the topic, but the sentiment feel a little bit, like, naive and innocent where you have Moutier who's whispering in your ear and Keisha who's like, I've been through this. I'm still kind of, like...

00:20:45 --> 00:21:01 it's just oh they all encompasses a lot but like yeah no siobhan kind of yeah yeah that yeah she does that version yeah i definitely downloaded that and listened to it a lot that is the ultimate version yeah so siobhan

00:21:02 --> 00:21:18 No, don't get me wrong. I love Heidi. She contributed so much to this group. Yes. But I think with Siobhan's tone here, it's a bit, it's a thinner tone. Yeah. But she kind of matches the power, I think, that the other two have. Mm-hmm.

00:21:18 --> 00:21:40 So it's like a different kind of vulnerability. Yeah. Like it's more like a lived vulnerability, I think, than Heidi's, which sounds a bit more innocent. And yeah, I don't know. The blend between the MKS girls just... Yeah, it's weird, bro. It's so... I'm like, how... It's one of those things where you meet your soulmates and those girls are freaking vocal soulmates. I'm correct. Anyone says... It's the same thing with like...

00:21:40 --> 00:22:01 kelly and and michelle and beyonce it's like the other versions of those girls great we love them but once they found it it was just like you're not touching that thing about that just feels so right so yeah the soulmates there yeah love latoya and latavia don't play by them yes and love heidi and also sending love to amel and jade as well

00:22:01 --> 00:22:30 Yeah, no shade on this corner. Yeah, for sure. Yeah, yeah, yeah. Yeah, so for me, I love this. I love this. I love this kind of plot. Like, spoiler alert. Sure. Nine. Okay. I'll go 8.5. I'm sentimental. Yeah. Next is Situations Heavy, done by Zenomania. We have Brian Higgins, Miranda Cooper, Sean Lee, Tim Larcombe, and this time, Edelle Lynch from Bewitched was part of Zenomania here, too. And, of course, the three ladies of the Sugar Babes.

00:22:34 --> 00:23:03 So random. She's like, you know, I just got off my little tree. Yeah, she's done a few. She did that one song on the Girls Loud album. Oh, good for her. She shows up a few more times on this album, too. This is very true. Good for her. You know, not just singing C'est La Vie. Oh, my God. I don't know nothing about that group. Oh, we should review. They have some great singles, actually. I bet they do, dude. They do. Oh, dang it. They do. And also, that one 90s show that I went to, they were the best in that show. For sure, hands down. You did say that. Yeah. Yeah.

00:23:04 --> 00:23:28 Anyway, situation's heavy. So this production track is super interesting. You get these kind of affected, wiry, extended sounds. There's an acoustic guitar. The drum feels super loose. And when I mean that, I mean the guy's, like, wrist just feels really loose because it's just, like, going really fast. How do you know that? Do you play the drums or something? Oh, God. You're sounding like a little kid. But, yeah, I think because of that,

00:23:28 --> 00:23:58 There's like a momentum to the whole thing. Like they are kind of chasing the beat almost a little bit, which is kind of interesting given the lyrics, because it's almost like there's a force driving them to get out of this tough situation that they're singing about. So I just thought that was interesting. Yeah, I like the lyrics to this, right? They are late teens, early 20s. Yeah. They're just kind of discovering themselves, figuring out how to navigate life. Right. Yeah.

00:23:58 --> 00:24:23 So yeah, this is actually one I never really thought much about. But then these past week, listening to this album, this one has grown on me quite a lot. Got a newfound appreciation, man. I do. Look at you. Look at you, newfound appreciation. I feel like this production sounds like Massive Attack. And I'm not talking about like Angel, guys. Angels like to play that one on Instagram. But I think with the distortion and the strings, there are some like little...

00:24:23 --> 00:24:39 little some notes taken like oh this is good y'all can handle this and i think they can handle it um there's a blend of funk that also makes the song feel lighter in terms of like energy it's lighter than what the lyrics convey um you have the life's kind of tough vibe you know they have lines where

00:24:39 --> 00:24:58 It's saying, how am I supposed to know? I want my life to go. If you always hold the plan and they're still trying to figure out life, but they are moving forward, even if there are warning signs, you know, but like, it's less about like, I think I know everything. I'm more just like, let me figure it out. It is Brittany's. I'm not a girl. You know what I'm saying?

00:24:59 --> 00:25:26 Yes. But I think that's an interesting kind of thing. I'm not sure if you've gone through it, but I've always been a goody-goody. So I've never really had, I never had to learn the hard way for too long. But I do have family members who are like, oh my God, Shan, is it going to pay the bills? But they've never stopped me from learning my lesson. They let me figure it out. And they're right there to support. Have you ever had any kind of obstacles where people have been like, Chris, this disc?

00:25:27 --> 00:25:54 Well, I don't even think it has to do with any other people. Like, it's kind of just you get in these situations that you just have never learned how to deal with. Oh, this is true, too. You know? Yeah. And it's just like, how do I navigate this? And yes, I've made decisions in the past, but I've learned from them. Okay. Right? Oh, look at us learning and growing up. Got her old. Flying. What the heck? What the heck? Oh, I'm just trying to think, like.

00:25:55 --> 00:26:20 Yeah, no, I think because I'm just kind of like a someone tells me like, hey, this is how you deal with something. I usually take their advice like first run through like unless I just yeah, it's very rare that I'm like, oh, yeah, I'm not going to even with you. You give me like a little bit of advice. I'm like, I'll consider it, you know, and I actually end up doing it strongly worded emails. He says, don't send them. I don't. That being said, 7.5 for this one. OK, I'll give it an eight. Yeah.

00:26:20 --> 00:26:41 Up next is Million Different Ways. It's done by Craigie, Felix Howard, Guy Singsworth, Stuart Crichton, and Keisha Moutia and Heidi of Sugarbates. I'm so sorry to say this, man. If y'all can pronounce it, like if you're from the UK and this name is familiar to you, please correct us. Yes. Phonetically in the comments. Yes.

00:26:42 --> 00:26:59 All right, so here we have the whole Middle Eastern inspiration that was just so big in the 2000s, you know. I want Agrabah. We love Agrabah. We love Agrabah. But, you know, there is that man's vocal loop in the back, which is very interesting. Yes.

00:26:59 --> 00:27:16 And again, you have this kind of driving beat, you got the strings in there. So I will say the track itself is interesting, for sure. I did watch a performance of them doing it live from like the 3 tour in Europe. And that man's vocal loop is way louder. It's amped up.

00:27:16 --> 00:27:41 yeah i was like whoa it's like unnecessarily loud we've already come from the fudge but yeah this one i enjoy the melody of this one like there is a frustration there but there is still a softness i think in the way they're executing it especially in that post-chorus that kind of repeat of the to love me to love you to love me like there's i don't know it's like interesting they're like in a dilemma you know yes um i will say

00:27:41 --> 00:27:58 Heidi sounds great on this bridge. This is hers. Yes. She emotes so well. She gets that big, I can't hear you belt into the final chorus. That's the best moment on this whole song. She's, you know, yeah. Yeah.

00:27:58 --> 00:28:22 Yeah. I feel like that line every time I go down your street, I pray we meet. Relatable. Like, I've never ran into anyone I've ever dated before because, like, they'll never be in the same rooms I'm in. But, like, every so often I think, oh, if I'm walking down the street, would I see them again? And I think my karmic loop has closed. I don't think that would ever happen because it is what it is. But, yeah, I've never been, like, you know...

00:28:22 --> 00:28:37 But I was like, you know, curiosity. And I think the song captures the idea of running into someone again really well. Because suddenly I was thinking, what would it be like if I ran to that person? Like, would they be in the same place that I left them in and...

00:28:37 --> 00:29:00 That has happened with friends where I reach out to them. We haven't spoken in a while. I'm like, well, you are literally in the same life position where you were before. That kind of caused friction in our friendship or like made me feel like we're just moving in different directions. So it happens with relationships and friendships. It happens. Just period. I do appreciate the digital vibes that are mixed with like that twangy string situation, the agrabah pop. We love agrabah pop.

00:29:01 --> 00:29:25 okay because it's not gonna be oh it's middle eastern just in case i don't know what the sample is because it doesn't really it's not really listed so i don't know where it's from um but i do appreciate uh the the whole kind of vcr-ish digital download vibe that's happening here and the song is about that hot and cold relationship and like signals are missed um

00:29:25 --> 00:29:48 And you can hear it even when it goes into the bridge. Like there's a key change that is presented by way of like a strange synth. And if you've ever been to the movie theater or had a cassette tape, guys, there was like this THX sound. It was like super loud, like booger speaking. Like core memory, like from the womb. I feel like everyone has experienced a THX sound.

00:29:48 --> 00:30:05 You know, that's funny. So that's what it sounded like to me. I was like, oh, sounds like a tape, you know, be kind, rewind or be kind and move forward without that person. So I think this one is fun. It would have been an interesting visual if they did want to have a little single moment with her.

00:30:05 --> 00:30:35 Yeah. I'm glad it was included on the tour set list because I do think it is one of the stronger tracks on this album. Yeah. So I gave it an 8. Me too. Okay. Next we have Twisted done by Zenomania. This time it was just Brian Higgins, Miranda Cooper, and Edel Lynch. Plus the three ladies of the Shooka Babes. And this was actually one of two UK exclusive bonus tracks on the album. So that's interesting. The bonus tracks are spread out. I'm twisting you

00:30:35 --> 00:30:39 I think...

00:30:40 --> 00:31:06 that this track is interesting. Was it a joyful track? No. Just a limitation. Like a limit. Yeah. A limitation. Lamenting. I mean, it's a real word, y'all. I'm just having a look. It felt very unnatural to say. I do speak like this, but it felt unnatural saying it on the camera. It's weird. The point is, it's the sentiment that Angels with Dirty Faces has done so much better.

00:31:06 --> 00:31:33 Where it's like, I'm kind of messy, but I'm still kind of, you know what I'm saying? And like the production, it sounds like Siobhan's solo track, solo album track. Remember the weird one with the storytelling about her losing her luggage and the, you know, I forgot the name of the song, but it has that quirky, like hitchhiker, hitchhiker pop. That's what I call it, hitchhiker pop. Like that part of the movie where the buddies get into some mess with and run away before they run out of gas. Like they run, oh my God.

00:31:33 --> 00:31:51 He's coming. Get the briefcase. Like, you got the briefcase now they're on the road singing about things. Like, it's okay if I'm a little bit crazy. Doesn't mean I can't be a lady. Like, those lines like that, again, angels with dirty faces, that's such a better job. And the music video is just super adorable. Powerpuff Girls, like, you can't miss on that. But yeah, I think the song does do...

00:31:51 --> 00:32:07 like a decent enough job of talking about being misinterpreted or misunderstood but again they've already mentioned it earlier with the second track i mean the second song on this album um whatever makes you happy so i'm just like we've already done this so not my fave

00:32:08 --> 00:32:27 Yeah, this one's definitely very fillery for me. There's just not much to it. I appreciate the kind of funky electric guitar that's there. Yeah, and it is, I guess it is more lighthearted than a lot of the other stuff on the album. So it's a bit, yeah, it is a bit lighter. Ballad.

00:32:27 --> 00:32:55 The chorus, though, just really does nothing for me, melodically. It's not great, yeah. The verses, I mean, at least lyrically, it does feel like each verse is personal to each girl. Mm-hmm. You know? Yeah. And, yeah, kind of similar to the Whatever Makes You Happy, kind of similar to Situations Heavy, too, in a way, where they're kind of just, like, they're just kind of discovering who they are still. Yeah. Yeah. You know? You know? Yeah, this one's not one...

00:32:55 --> 00:33:01 I go back to. Yeah, no, not for me either. Yeah, I'll give it a 6.5.

00:33:01 --> 00:33:31 This one's a six. I hope they have any .5, spoiler alert, guys. There's solid numbers. Yeah, you're solid decisions here. Yeah. Which is rare. I like to leave a little area of gray. The production was good enough to bump it up, but this episode, I don't think so. Up next is We Could Have It All, and this was done by Craigie, Stuart Christian, Guy Sigsworth, and the ladies of Sugar Babes. We could have it all.

00:33:31 --> 00:33:54 It's also kind of fillery, to be very honest. I mean, this time the production, you know, it kind of has some rock sensibilities there. There's a really metallic drum, the electric guitars. I will say Mutia leading the chorus in her like super low kind of alto situation. Very cool. Like she just naturally just makes every song just sound very cool. Yeah. You know? Yeah.

00:33:54 --> 00:34:16 And yeah, they're known for the whole nonchalant thing, which this one is taking full advantage of. Yeah. And while, of course, I love the nonchalant thing for them. Yes. Sometimes you do need to amp it up a little bit just to kind of just to kind of give it. I don't know. You got to just give it a little something something because they sound bored in this one.

00:34:16 --> 00:34:42 I mean, there is a line about being born, which cracks. Exactly. So maybe it was on purpose. Yeah. I will say, though, reading the lyrics, they're pretty interesting, actually. Right? Yeah. Like, there's potential in the relationship, but then they're also kind of emotionally detached and also kind of over it. Yeah. As well. Like, it's underwhelming, but I guess there's potential. Or I mean, all the way around where there's a potential, but it's underwhelming. Oh. Yeah.

00:34:43 --> 00:35:12 You know, I mean, there is that line, me on you, you on me, you're kind of boring me to sleep. Like, it's just kind of like, dang, he's not putting it down. You really don't want him. I mean, for a lot of people, that's the determining factor. It's just like, I have to take it. And some people are like, you know, I love them. I'll stay. I don't have to, you know what I'm saying? Yeah. I mean, I was like, this song is giving like regret, but maybe that full regret is kind of just like, I don't know, maybe consideration. What is like that emotion like right before regret?

00:35:13 --> 00:35:33 I don't know, but it's like whatever that is, y'all, that's where they're at. Because it's kind of just like, I don't want to let this go. Maybe it's like a sunk cost ballast. If you've been in here for too long, I don't want to like... A pros and cons list. Yeah. Oh, I love the pros and cons list. That actually kind of is what it is, right? Because she does, or they do kind of speak of some positives about this person.

00:35:33 --> 00:35:58 Yes, like second verse is so much more positive. I'm like, okay, second verse is more hopeful. And then Keisha's like, I don't subscribe to the state that we're living in. I love, that's a really cool way of saying that our reality could be different if there was some effort put forth, eh? Right. I do appreciate it. But I will say, this song sounds a lot cooler than it really is, much like the dude that they're talking about. Seven? Yes, Seven for me too. Uh-huh. Yes.

00:35:59 --> 00:36:26 Okay, so we are halfway through the album. So if you're enjoying the episode so far, you can follow us everywhere at CCTV Pops. And if you want to hang out with us unfiltered, you can join the CCTV crew for exclusive live sessions and the ability to help pick future episode topics at patreon.com slash CCTV Pops. And for all of you listening, you want to hear your thoughts too. So put all your opinions in the comments. What did we get right? What did we get wrong?

00:36:26 --> 00:36:52 Oh, there's no wrong. Tell it to us. Don't tell people that. You guys are wrong. I just want to hear opinions. Yeah, me too. I'm just like, y'all suck. Okay, why do we suck? Like, hello? All right, moving on to Conversations Over. Done by Craigie, Guy Sigsworth, Tom Elmhurst, Johnny Lipsy, Karen Poole, and the three ladies of the Sugar Babes. Now the conversation's over.

00:36:53 --> 00:37:19 Oh, Stuart couldn't be bothered to show up this day. No, but we get Karen Poole. Yes, we do. She's shown up a lot on this show. Yes, we love Karen. You know what? Karen should be a reach out. Like, listen, we've talked about you enough, though. Uh-huh. We would love to hear about. We would love to hear stories about these songs. Uh-huh. Yes, absolutely. The lyrics. Did it start with an obsession? I can see through your deception. Yeah.

00:37:19 --> 00:37:39 I love that they have like this like chic outer layer, visually speaking, but they know how to be vulnerable, you know? But this whole song is not just about like, oh, my heart's been broken. It's like they were claiming their power. It's my turn to walk away. Oh, can I tell you I've, I've only in one, not once, twice.

00:37:40 --> 00:37:59 out of like the four people I've dated, which is not a lot. A lot of it takes significant depths. But I've only walked away from like two people. Right. And I'm kind of like, dang it. Some people I should have been like, goodbye. You know what I'm saying? Oh God. I should listen to this song every time I'm like, you know, doing the pros and cons list. I should listen to this song. But I loved,

00:37:59 --> 00:38:17 the production of their vocals a lot in this song because it's like their vocals are layered throughout their track i mean throughout their discography really but this one it really makes it feel like your thoughts um like like you have mega rose muses like right there but they're like really cool like goth chicks you know oh yeah

00:38:17 --> 00:38:38 You know, and I love Heidi's line. I found the way to say it. What the walls have heard a thousand times. Introverts stand up. Even if you're not introverted, even if you're not introverted, how many times have we sat here like, damn, I should have said X, Y, and Z or you rehearse what you need to express. Cause I know I'm like, I'm gonna say it like this and I'm gonna say it like that. I'm not gonna get mad.

00:38:38 --> 00:39:06 You know, so I do appreciate that. And shout out to that string outro. Like the whole sonic journey of this song is absolute fire. Like if you're just kind of like listening to production, great work. I mean, especially with that string outro, because it's like, can you imagine if Ray would have wrote it? Like that string section would have been a whole speech. And the woman walked away. No baggage. Just hope carrying her into the future. Oh, well done. It was very Ray-like.

00:39:06 --> 00:39:20 And I suck at UK accents. I'm working on it. That was better. That was better. Yes. I hear it. I hear it. Okay. So I said earlier, I wasn't sure if caught in the moment should have been a single. This could have been a single.

00:39:21 --> 00:39:44 If they wanted another kind of slower track, this would have been the one, I think. Again, I love Kana Moment, but this is a good alternative, I think. I agree. Yeah, great pop production here with the guitars. Yeah, I mentioned the strings as well. There is that super kind of hard-hitting pop drum, though, so there's a bit more energy there. And yeah, the chorus is super catchy. Like, look, pop fans love a dramatic breakup song.

00:39:45 --> 00:40:02 Yes. Especially if it's good. Yeah. And yeah, this one does feel quite empowering. And there actually are beautiful lyrics in here. Like in Keisha's verse, I saw you dancing with the devil. I'm not blind. Don't sympathize. I love that. And yes, Heidi, again, bridge queen.

00:40:02 --> 00:40:25 You know, she's there with Michelle Williams sometimes, you know, with some of these bridges. Because, yeah, her softer tone really amps up the vulnerability, like I mentioned earlier. Because the other two just naturally sound a bit harder, you know, just the way that their tones are. Yeah. So when she comes in, it really just takes the song into another place. And I love Mutia's ad-libs near the end.

00:40:25 --> 00:40:37 Yeah, it's such a great song. They did perform it. I saw it on the AOL sessions as well, which is a great performance. They killed that. Honestly, I feel like their whole performance...

00:40:37 --> 00:41:00 Once they got past, like, hey, we're just meeting this new girl, it's just like a recalibration. They were trying to get themselves together. Yes, they're professional. But having time spent in a studio after meeting for the – it helps. It definitely – I mean, even with us, when we first met, it was because of dance rehearsals. But then our love of music brought us closer. And now we're like, wait, hang on.

00:41:01 --> 00:41:24 oh wait i like this too and like we move at the same time we tilt our little things like that i think it's so important because when they perform you can see them like they don't have to look at each other all the time they can hear they can feel and it's like when they perform it it makes you either like the song more or love the song either way it's like solid like time i think for them super solid time obviously it's better from what i've learned with our pop 101 yeah

00:41:24 --> 00:41:41 That one, Pop One One was for me. But yes, I like this one. I gave it an 8.5, but I think I will give it a 9. Oh, okay. I get what you're saying. This could have been a freaking single. Yeah. Yeah. I also have it as a 9. Yeah. Yeah.

00:41:41 --> 00:41:58 Can you imagine the Ray thing? The women walked away. No baggage. Just hope. Carrying her into the future. Also, we have a Ray episode out. So watch that, guys. It was amazing. Okay? An absolutely amazing episode. Great conversation. And we were in studio. So check out that episode after this one.

00:42:01 --> 00:42:22 Up next is In the Middle, and this was done by Zinamania, which is Brian Higgins, Miranda Cooper, Niara Scarlett, Sean Lee, Lisa Cowling, Andre Tegeler, Phil Fudner, Michael Bellina, and Jeremy Wheatley. And this contains a sample of German DJ Mugai's song, You Know Why.

00:42:22 --> 00:42:40 This was released as the third single from the album in March 2004. And this song peaked at number eight on the UK singles chart and charted across Europe and Australia, and it actually earned a 2005 Brit Award nomination for best British single. But how do we feel about it?

00:42:41 --> 00:43:11 Okay, so I do remember Keisha saying that she really does not love this song. Like in later interviews, more recent interviews, she's said this quite a few times. And even when they perform it now, she never sings her verse. She doesn't sing her verse. They always just do a Muthias verse, and then they do the chorus like two or three times, and then it's done. She says, please, don't bring it my way. Okay.

00:43:12 --> 00:43:37 But I actually like this song. I will say it's definitely Round Round Part 2. The formula is exactly the same. That's valid. Yeah, it definitely feels like the label was like, we need part two. The brief. Yeah, we need part two. And it's not as good as Round Round, right? I will say, I think the chorus is actually my least favorite part of this song. Mm-hmm.

00:43:37 --> 00:43:48 It's okay. Yeah. Yeah, but I actually love the verses. Like, I think there are great moments across all three. I think the melodies are great. Like, Keisha, I think your verse is great.

00:43:49 --> 00:44:15 But Mootsie has my favorite. Mootsie has versus my favorite. You know, there's also this like harmony stack on the pre-chorus, which is awesome. They always kill that live. And this is great Zenomania production as well. It's just a ton of energy. You get that kind of drum and bass feel this time. There's a lot going on. So, yeah, I like this song. It's not my fave. I will ask you, though, what do you think the song is about?

00:44:16 --> 00:44:46 Okay, okay. I don't know. But... Okay, guys. If you're new here, I'm usually like the tinfoil. I have an idea. I got it. Yeah. I have tinfoil. I have a pretzel bag. But like, I feel like this one's a little interesting because it's like, okay, pop in the middle, jumping through the riddle. I was trying not to interpret it too much to just feel the vibes, but then like the lyrics got more and more ridiculous. And I was like, okay, I need to know what's happening.

00:44:46 --> 00:45:16 I'm in the mix. I'm in at a party at the club. I'm having a good time. I'm feeling the vibes. But like somebody's a little too lusty. It's a little bit too much going on. And like I'm not really feeling jiggy with it until like the night goes on where, you know, even in Heidi's part, she's like something a voice in her head says, it's okay. You know, let loose a little bit. You know, maybe that's the thing. Maybe the riddle is, is it a good time? Is it a long time? Is it a long time?

00:45:16 --> 00:45:41 yeah because i'm lying like the boys will the boys be the toys that the girls want the boys to be and then the yeah the girls be the world that the boys want the girls to see so it's like the boys should take the girls more seriously but the girls should not be taking the guy seriously because like they come and go like seasons okay all right um but yeah i think that is the complicated part of it all it's like ladies don't fall hard gentlemen

00:45:41 --> 00:46:00 Catch me when I do. You know, like. Dang. But I will say I agree with you. In terms of like where the chorus is a little. I don't care for it because it's like it feels like a nursery rhyme turned hook. Like, you know, sound of the underground. Wheels go around and round. Sure. Sure.

00:46:00 --> 00:46:25 But I can't pinpoint the nursery rhyme, which means it's not as effective. So it's okay. I don't dislike it too much because I know the... I know it. The mix going, the body rolls going. Oh, hello. Yes. And the outfits and stuff. Yes, what did you think of the music video? Mookie was a witch. Yeah. Yeah.

00:46:25 --> 00:46:47 Yes. Look, you said, Yes, I love that. Double hands are going. I never see her dance so much in my life. I mean, the Shook music video, she was giving us body and, you know, on the back of the truck in the Shook video. Um, but yeah, with the ponytail, she was giving us moves. This is the most I've seen her dance. She said, with the fingers. Oh!

00:46:47 --> 00:47:12 I love Heidi's outfit because it's giving Brittany and Madonna me against the music. Oh my god, yes, in the zone. Yes. And Keisha's all sparkly. Like a Vegas showgirl without her champagne glass. You know? I love how they just kind of like sprayed her face with maybe spritz and then just threw glitter on it because there ain't no way. There's no way they put any thought into that. They said, it's done. Like,

00:47:13 --> 00:47:39 I will say I do wish there was a dance routine, just a little one while they're on that Lazy Susan. Because I'm all just kind of doing these body rolls as the Lazy Susan is going. I was like, all right, you got to give us something. They're meant to look good. They look great. If you guys haven't seen our pop 101, I'm like, yo, they're going to sway themselves to death. They're going to sway. Yeah, they love a sway.

00:47:41 --> 00:48:05 love them they look so beautiful though yeah all jokes aside they look so honey mootia's green eye like look even with the little glitter just thrown on her face keisha's face card never declines and then heinie's body yaddy yaddy it was giving so um that's so funny but is the video enough and the performance is enough

00:48:06 --> 00:48:28 I'll give it an 8. I'm going to give it a 7.5. Okay. I do have some 0.5. Okay. There you go. Yeah. Look at me. Okay. Next up is Too Lost in You, done by Diane Warren, Rob Dugan, and Andy Bradfield. And this is the English adaptation of Quand J'ai Peur de Tout by Patricia Kass, with original lyrics by Jean-Jacques.

00:48:28 --> 00:48:54 Goldman. And this was released as the second single from the album in December 2003, and it peaked at number 10 in the UK and also hit the top 10 all across Europe. And this song is featured on the soundtrack to the 2003 film Love Actually. But unfortunately for the US release of this movie, the scene where the song is played uses Kelly Clarkson's The Trouble With Love Is Instead. You know, my thing will always be if your movie is good,

00:48:55 --> 00:49:14 put any song there. You feel me? If your movie's good, put any actor in it. That's good actor. It's a good song. You know what I'm saying? I mean, both of these songs are amazing. True, true, true, true, true, true, true, true, true, true, true, true, true, true, true, true, true, true, true. Baby, I'm too lost in you. Chris loves this song, y'all. And when I tell you...

00:49:16 --> 00:49:40 This man was like, oh, yeah, F everything else. He showed me overload in this. He was like, that's it. And maybe stronger and push the button. He was like, nothing else matters in this moment except too lost in you. He'd be sitting there, too lost. He'll sing Moochia's part because it's low. I will. You know? It cracks me up because I know this song because of you. It literally is like, I like this. You're going to like this. Sit on the couch. Like, you know? Stop this.

00:49:40 --> 00:50:01 Like this song, I get why you like it. Mm-hmm. I get it. Like, I mean, this one feels like a proper sequel to Caught in a Moment. We're caught in a moment where it's like, you know, I'm kind of scared that we're starting something. We start it. This one, you got it. You don't put it down on you. You're just scared. You're like, damn, I like you a little too much. And I think the interesting part about it is that it's so intense.

00:50:01 --> 00:50:29 Because it's like, you're not just getting caught up in a moment or caught in a moment. This moment is lasting. It feels almost, quote unquote, too long. It feels too intense. Because the metaphor is like, I'm going down like a stone in the sea. That is not cute. It's like, I'm falling like autumn leaves. No, I'm going down like, I'm going to be with the fishes. Crying about you, loving, thinking about you. That's kind of scary. And I think they do a good job of making it sound like,

00:50:30 --> 00:50:48 Not rueful. I don't want to say rueful. But there's certain... Again, it's that regret thing. Like, they don't want to regret this. But they don't want to let it go. And I think that's so beautiful. And, I mean, falling deeply is kind of scary, you know? I mean, if you're an avoidant, it's probably the worst thing that could possibly happen. But, again...

00:50:48 --> 00:51:13 falling really quickly it's all happening like oh i can't stop it the drama oh my gosh and then the strings and the bridge it feels like a soap opera it just flurries and the strings the strings throughout period is really good um yeah no no complaints really with this song i heard the original she was cute she was cute she needed two other women to sing it with her and luckily

00:51:14 --> 00:51:39 So shout out to Diane for rewriting it and keeping the two for the two. Yes, that's right. Also shout out to my co-host for the French. Yes. I mean, this belongs in Diane Warren's greatest hits. It's up there with because you loved me and you know, Oh yeah. Aerosmith and Tony and everyone. I just find the melodies. Yeah.

00:51:40 --> 00:52:02 just so beautiful you know it's romantic it's sexy but there is an ominous vibe which is kind of what you were talking about because they are scared yeah to be falling so deep without control um and yeah i have a note about the big dramatic strings as well i just think every single melody is just so well done like much and kisha

00:52:03 --> 00:52:28 In those verses, it being so low and grounded, and they added all these extra little harmonies and little moments where each of them can kind of pipe in and out. The whole vocal arrangement is just so well done. And then, of course, the chorus has the full three-part harmony for this whole thing, and it just keeps it super intense the whole time. And actually, when I met Keisha at the first reunion tour... Light flexed.

00:52:30 --> 00:52:57 I told her that this was my favorite song and that her ad lib, baby, baby, baby. I was like, that is my absolute favorite moment for you across the entire show. Good babe's discography. I'm so excited to hear it live. And she was like, oh God, now there's pressure on me tonight. And I was like, no, no, no. I was like, no, no, no, that's not what I meant. She's so cute. She's like, great. I don't know if I messed this up. Oh my God. Oh my God. But yeah, I will never get bored of this song.

00:52:58 --> 00:53:16 Yeah. And I feel like a lot of the girls have said it too. I think Siobhan has said in the past that it's her favorite or one of her favorites from kind of when she wasn't in the group. Amel also said it was one of her favorites as well. So yeah, I think it's for sure one of their best, if not the best.

00:53:16 --> 00:53:40 Oh, yeah, I think so. It's honestly that baby, baby, baby. So the Sweet Seven Sugar Babes, I'll say that. The Sweet Seven Sugar Babes. Sure. Okay. Sugar Babes, Sweet Sugar Babes, Sweet the Seven Sugar Babes, whatever. But Sweet Seven version was not bad technically, right? Like a Mel and Jade were hitting notes. But I think the girl, I mean, I will say like the baby, baby, baby, which is like a long baby.

00:53:41 --> 00:54:11 and she was like holding the note and she sounded good but I just think she had a lot to prove at that point because like it's Keisha you know and then Amel the comparison is going to come you haven't asked you boys but it's not Moutia's guys again no hate here but I just think with the sugar babes as they were I would say even in that performance with Amel and Jade Heidi wasn't exactly like it wasn't giving crystal clear bell like it usually gives and that really performed it wasn't giving I did yeah and I was like is this like fatigue I don't know but

00:54:11 --> 00:54:28 Honey, the MKS version of this. I'm so sorry. I'm sorry, guys. It has me in a full Nelson. Did you guys know that meme? Please. It has me in a full Nelson. Okay. It's just, it's sickening. It's so annoying. Cause I was like, let me not compare. But then I listened to it and I was like,

00:54:29 --> 00:54:56 I hate you. You're so good. Oh man. Keisha singing baby, baby, baby. Like nothing compares. She has a good mix of both Mutia and Heidi slash Siobhan's kind of highness. Like she's right in the middle. She ties it together. Like I need to hear Flo cover this because Georgia would, Georgia, even Stella could take it, but Georgia would take this. The baby, baby, baby note. Okay. Like, oh honey, shoot.

00:54:56 --> 00:55:21 Yeah, speaking of the performances, they have been doing that new kind of garage remix recently. So fun. So cool. Yeah, it brings up a little bit. And there is the BBC Concert Orchestra version that they did a few years ago as well, which I have also downloaded that and listened to it quite a lot. He said! What did you think of the music video? Because for me...

00:55:21 --> 00:55:42 oh sometimes when i'm walking down those long corridors in the airport i just have to think of this video nasty nasty boy i'm not fantasizing about the workers though usually listen there's some there's some airport bays once in a while i never see them i never see them but hang on give me a second you have to you have to bleep this but give me a second all right handcuffs what's happening

00:55:43 --> 00:56:03 Oh, I had some handcuffs, but these aren't handcuffs. Yeah, no. I should have put this on and introduced this on this way. Wasted opportunity, but here we are. So, you know, this whole music video is hilarious because like... For those of you listening, turn on video right now. Yes, I have a harness. Okay, so here's the thing, right?

00:56:05 --> 00:56:23 I appreciate the 50 shades for 50 shades was happening. Okay? I appreciate the lack of kink shaming, right? Nope. K and K shaming. We're not doing that with this video. I will not tell a lie, though. That video was so strange in that sense because we're walking to the lost. Slow-mo.

00:56:28 --> 00:56:56 And I was like, what the heck is that? What the heck? I love Tyler for that. What the heck? But it's so true. It's just like, I was like, people are bound and gagged. Well, no one was being gagged. Yeah. They were bound. And then, girl, what was the ice bucket challenge? Oh, my God. I have that as a note, too. That was a lot of water that was dumped on that man. They gave him, like, the ALS challenge. Like, that was ice bucket water. Ice water bucket.

00:56:56 --> 00:57:16 That was crazy. Absolutely insane. You're not sexy at all because then the bed gets all wet too. Waterproof. Not in a good way. Waterproof bed sheets, y'all. They exist. Please get them for your partners. But yeah, I mean, I feel like this song, the video didn't fit. Iconic moment though. The girls are all dressed up. I'm not mad at it. You know, they're horny.

00:57:17 --> 00:57:41 Oh, but there's a lot of horny. Okay, it does. But like, it's about like how scared they are about falling in love. Not. Are you scared of the whip? What's the safe word? Sugar. Sugar. Sugar. Like, what's the safe word? Sugar. What's the safe word? Sugar. Wrong. Salt. Salt.

00:57:44 --> 00:58:07 Look, it's memorable. Yeah. I appreciate them doing something fun for this video. Yeah. All right. So I give this one 100 out of 10. No, okay. 10 out of 10. 10 out of 10. I will match this girl with a 10.

00:58:09 --> 00:58:36 Speaking of nasty, next song is Nasty Ghetto. And this was done by Linda Perry, Keisha, Mutia, and Heidi of the Sugar Babes. And allegedly, this song was produced as part as a compromise following the controversy over Linda Perry and Christina Aguilera sampling the Sugar Babes debut single, Overload, and Christina's makeover without crediting them. And if this is true, that'd be a mess. Because what?

00:58:42 --> 00:59:07 I mean, the whole sampling thing is true. But, like, this being a compensation song, it's kind of... I know. They're like, you are forced to produce a song on this next album of ours. Right. Right. And it's like, kind of like that... Oh, my God. The production is very quirky. And I do like how, like, the cyberpunk movie club... It feels like a cyberpunk movie club scene. Sure. You know?

00:59:07 --> 00:59:24 Okay, thank you. Unless you weren't going to get it. I get it. Thank you. If you guys don't get it, you haven't watched Titan AE. You haven't watched The Fifth Element. Like, you have to watch things like that to understand this, essentially. Yeah. Yeah, I did want to like the song very badly. But the verses...

00:59:24 --> 00:59:47 Stronger than the chorus for sure, but it's like not by much because that chorus is ridiculous. And it's so lazy. Nasty ghetto, nasty ghetto, nasty. I'm singing it wrong on purpose. Don't come for me or do whatever. But yeah, I feel like the instrumental interludes in this song are the star for sure. Yeah. I just, I don't know.

00:59:47 --> 00:59:59 It's not my favorite. I'm not going to lie to you. I agree with you. It just doesn't really go anywhere melodically. I agree. I think the production itself is interesting. Like, it feels very cold. Oh, yeah, yeah. Which is, yeah, which is cool. Um...

01:00:00 --> 01:00:26 And I will say there are some fun moments like in the lyrics and like the verses and stuff. And yeah, I agree with you. That kind of psychedelic kind of wiry thing that happens before the bridge. Probably my favorite part of the whole song, actually. Yeah, the chorus. I feel like nasty ghetto is. So first off, is that a term that's that I should know? No. Because do I want to be caught in someone's nasty ghetto? No.

01:00:26 --> 01:00:35 That doesn't sound like something I want to be caught in. That sounds crazy. He got caught in my nasty ghetto.

01:00:37 --> 01:01:00 I mean, the body rolls got to keep going, though. Yeah. Yeah. The swings. The harness is still on because the nasty part, not the ghetto part. I'm not really fond of that. I feel like the title was just trying to be like trying really hard to be different and inflammatory in some kind of way because it's just like nasty ghetto. And I'm like, no, I think it's supposed to sound sexy. You know, like I think it's supposed to be like their their their area.

01:01:00 --> 01:01:23 They're pum pum. Exactly. Right. They're pom pom. There we go. Why would you call that your nasty ghetto? It doesn't exactly. It's like, oh, let's go down to the fish market. Like, come on. Who does that? So let's get some sushi. Get some omakase. It doesn't make sense. Wait till you get to the song easy. I can't wait to talk about that one.

01:01:23 --> 01:01:51 Oh my God. But honestly, I feel like Nasty Ghetto is that one SpongeBob episode where the bus goes too far and no one speaks English. All raspberries. Four. But then I got four. Maybe a 5.5, maybe six, but 5.5. Oh. Okay. I'm going five. Okay. Okay. Okay. Next is Buster, done by Karen Poole, Johnny Douglas, and the three ladies of the Sugar Babes. And this was the second UK Special Edition bonus track.

01:01:57 --> 01:02:10 All right. The harness is gone, y'all, because we finally got in our bad a little bit. You know, we got some chill hip-hop vibes. Yes. Stop scratching around here. Feel the messy atmosphere. They are so, like...

01:02:12 --> 01:02:32 Like, when I think of those teen, like, movies with the girls, just, you know, girl gang teen movies, I think of, like, The Craft or, like, there's always, like, this one boho chic member of the group. And she's like, oh, my God, the atmosphere is just so messy. The vibes are just not good. Like, that line kind of gives that a little bit. I'm so sorry. Yeah.

01:02:32 --> 01:02:51 I feel like this song is the chill outcry that a lot of girls, it's cool, including myself, because I've gone to the club, and I was like, why are you here? You ruined the vibe. You threw off the emperor's groove. You know, like, out the temple. But, yeah, I do appreciate the laid-back approach, but I think at this point, like...

01:02:51 --> 01:03:20 it's okay to be a little feisty. Cause like my thing is where there is dramatic vocals in the ballads, tracks like this, keep that cool sassy vibe. And again, it's just like, okay, like you can do it like that. Baby, baby, baby. Didn't come from nowhere. It came from somewhere. So I wish like, this could have been a little bit more like leaning toward that U S style where it has a little bit of a sassier moment or a sassier approach. Cause like, you're telling him the back off and he keeps coming. But,

01:03:21 --> 01:03:31 Eventually, you can be like, okay, back off. Back off. Yeah. Buster! You know, like... Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha

01:03:31 --> 01:03:59 Don't know if they go that far. Okay, okay, maybe not Buster, right? But I think the song is fun, though. I do appreciate that no, that no vocal chop, because it reminds me of Khalees' yo, yo, and caught up. So I do like that. But again, like, maybe they didn't break the way they should have broke yo, but like, I break, and I wanted the song to break. Keisha luckily does rap, so it kind of breaks Manali, though.

01:03:59 --> 01:04:19 Yeah, I will say live, you do get a lot more sass. Because when they sing the chorus, you get a lot more attitude. Buster trying to get his hands on me. You know, you get that kind of throatier kind of give to it. So yeah, I think live, it really goes off. And I can see why it was kind of in the set list for this kind of whole era here.

01:04:19 --> 01:04:37 um yeah i think it's a fun one i think the reason i like this one more is because of the live performances of it okay um because there is an energy there and i think for them um in their set i believe it came after like a bunch of slower tracks so it's just kind of just a really good way just to kind of bring the energy back up right

01:04:38 --> 01:04:58 And yeah, I think the lyrics are fun, right? And they do feel confident. Like, I actually really like the way they wrote the chorus. Like, spinning a lie to get me in a taxi. Yeah. I will say, there was, there's a word that they say that I was just like, what the hell are they saying? And it was like... Or like, indelicate? It was like, no, no, it sounded like no dat-e-zik in your sting. Yeah.

01:04:58 --> 01:05:28 Oh yeah, I heard them kind of funky too On all the Lyric websites It says DZ-Yak Which if you watch them If you watch them perform it They do sing DZ-Yak For some reason in the studio recording It's like not that So that's weird I don't know if DZ-Yak and Dat Ezek I don't know Something weird happened there They tried to make it kind of funky Yeah And then live they were like We're just going to sing it correctly

01:05:37 --> 01:05:51 Yes, Keisha doing the rap verse. Super fun. Super, super fun. So yeah, I really like this one, actually. I think it is one of the stronger album tracks on this one. Yeah, so I'll give it an 8.5.

01:05:52 --> 01:06:08 Yes, I was thinking about a 7.5, but you're right. The live performance with the Adidas outfits really say, I love Heidi's outfit. That red with the little. Oh yeah, that was the festival performance, right? Yes, yes. Okay, I will give this one an 8, yes.

01:06:09 --> 01:06:32 Okay. Oh, God, this one. All right. Sorry, guys. I apologize. I usually try not to be so obvious about my disdain. Okay. Up next is Sometimes. And this was done by Johnny Rockstar, Felix Howard, Marius DeVries, Brian Higgins, Keisha, Moutia, and Heidi, and it counts as Heidi's solo track.

01:06:33 --> 01:07:03 Oh, can I tell you? Nothing upsets me. Tell me if you hear it, everyone. Chris. But I'm trying to figure out. Like, I sing, right? Like, I'm not, like, trained where I can tell you what notes are right now. Sure. But I can, like, okay, something's not right. Right. So I'm trying to figure out if Heidi's first note is flat in the honestly. Because honest, the lead is not right. It's like honestly. Yeah, honestly. The lead is funky, y'all. Listen to it.

01:07:03 --> 01:07:09 Honestly. Maybe she's just vibrato. There's a vocal crack. She's emotional. No, no.

01:07:09 --> 01:07:38 Not the gate. You don't trip out the gate when you're on the race. You trip at the end. You know what I'm saying? Like you get out the gate at the end. I don't care for that. No, I hear something. Honestly, it's not that bad. It's not that bad. I'm dragging it. But there is something not right about that part of the lead. I'll let it go. But aside from that, aside from that, well, not just aside from that, but like just leaving that there to kind of just marinate.

01:07:38 --> 01:08:07 before I cook this song. Her tone... Am I? I don't know. Let me scroll down somewhere. But yeah, I feel like her tone feels like she's always on the brink of tears, especially when she sings songs like this. Push the button, obviously not. She's not like, push the button. She's not... She doesn't do that. But for the vulnerable tracks, she knows how to make her throat like syrupy and sticky. And I do enjoy that

01:08:08 --> 01:08:25 I think people, like, if you're thinking like a pop vocal, you're not thinking of like having a breaking point. And this song is about hitting that breaking point. And I love the line, sometimes I wonder where these feelings began. It's giving, the voice came from nowhere. Like, it's just, that's what...

01:08:25 --> 01:08:48 you know and i will say the production has moments like the guitar um that goes off like somewhere toward the end of the second verse and in the chorus um and i feel like it being toward the the song being toward the end of the album makes sense like it's not super strong but it is empowering but like she can do so much better come on like how you go from stronger to like

01:08:49 --> 01:09:19 honestly like come on i'm so mad sorry yeah i don't hate it it's just like you know yeah this song's okay um i will say i appreciate the way the song was written lyrically like the verses are quite cold and kind of angry but then the chorus which is to being more introspective oh yeah you know um so i kind of like that in terms of the way the song was actually

01:09:20 --> 01:09:41 Not classic. Not. It just. I don't know. You can kind of hear. Her inspirations there. Like maybe there's some like. 60s rock band type. Yeah. Kind of inspiration there. Hopelessly devoted vibe almost. But just doesn't go for that like rocky twang. Right. Like country country moment. Right. Yeah. Something very old about it. Yeah.

01:09:41 --> 01:09:55 Yeah, we do get Keisha actually leading the bridge here, which is interesting. So not a true, true solo track. And of course you hear Mutia all over the harmonies yet again. But yeah, this one is also, I don't know, just doesn't do anything for me.

01:09:55 --> 01:10:23 Yeah, no, no. So for me, this is a six. Okay, I'll give it a 6.5. Yeah, yeah. Yeah. Okay. The last track on the UK version of the album is Maya. And this was done by Craigie Dodds, Guy Sigsworth, and Keisha, Muchia, and Heidi of the Sugar Babes. This is Muchia's quote-unquote solo track, and it was dedicated to her sister who passed away unexpectedly. There are worlds within words

01:10:24 --> 01:10:52 Right. And I don't have much to say in terms of this song. Like, it doesn't really like, I try not to question the production too, too much because like what it means. Cause some people are going to be like, Oh, I love this song because like a family member and I get that you have the emotional attachment to it, but like taking that away, taking the lyrics away for a second, the production is not my favorite. Like the sense and the other elements of the production is great, but there's like this weird little wonky sound.

01:10:52 --> 01:11:12 That's just... Yeah. I don't know what it is, but it's not very pleasing. Is it the whomping beat? Yeah. And then I put the song in fast forward to kind of just see if it was like, okay, it's not like it's slow. I put it in fast, like, what's it? Like 1.5? It sounded even more crazier. So I was just like, okay, this is...

01:11:12 --> 01:11:30 So I was like, okay, I don't like this. I was trying to figure out, is it a tempo thing? Is it like a, I don't think I care for the way that it was mixed, right? Like it maybe would have pitched it down. Like we all could have jumped that. I think it was just a little bit too wiry. But also it kind of plays to the whole like,

01:11:31 --> 01:11:50 I don't know if it's like a metaphysical thing, but like this whole concept of the universe and dimensions and things like that. And according to some research, Mutia's sister passed away, like basically like right after she was born, like as a child and didn't get a chance to live a full life. So in 1986, her sister passed away.

01:11:50 --> 01:12:12 And I think the whole concept of like not getting the chance to live a full life. So you're just like, what have our conversations would have been like? And what if we could have like hung out? And like, you know, and I think the lyrics about worlds within worlds and her thoughts flowing about how the universe may be shrinking, like brings them a lot closer than what they are in the physical plane. So I love how...

01:12:12 --> 01:12:27 thoughtful this is and reminds me of like left eyes projects when she was working on supernova um you know i think it's really interesting how someone can like try to tap into something that's beyond them and try to create melodies to it because it is kind of difficult to articulate these

01:12:27 --> 01:12:57 kind of thoughts. So in her, like, her praise, good job. And in criticism of the track, I hate that little whompy thing. Okay. I'm actually not mad at the track because I was also getting the kind of celestial, spiritual, ambient kind of situation. Yes. Multi-dimensional kind of situation. So I actually figured, I think it actually worked in that sense, but I totally get what you mean. Like, I wonder if this was just done acoustically.

01:12:58 --> 01:13:23 Maybe it would be more effective. Maybe. Yeah, I think if you're going for the whole kind of celestial thing, I think this kind of weird track makes sense here. Yeah. I think the melody itself is actually really beautiful. Like, there's kind of a hope to it. Yes. And there is this kind of chant that Keisha kind of leads that definitely feels very spiritual. Yeah.

01:13:23 --> 01:13:42 See, I think because of the meaning behind it and everything, I appreciate the song on the album. It's not one I would listen to very often, but I don't know. I think it's interesting, especially looking at like Mutia's solo stuff. Like this is very unique. Like this sounds nothing like any of that. So yeah.

01:13:42 --> 01:14:09 Valid, valid. Okay, so I give this one a 7. Not bad. Okay, I'll go 7.5. I'll go a little bit higher. Oh. All right, guys. So we've reached the end of the standard edition of the album. But, of course, there are a bunch of B-sides that we have not just- So many B-sides. Yeah, so many. That should have been on the standard. But you're going to have to watch for that conversation in our Patreon. Once again, it's patreon.com slash cctvpops.

01:14:09 --> 01:14:37 Okay, for unfiltered. Maybe some cussing. Maybe some more harness. Who knows? But since we're done with that. Given some of those lyrics in the B-sides, I think the harness is going to come back. Oh, oh, oh, oh. But yes, so now that we are at the end of the standard issue of this album, we're going to talk about cut or keep. Cut one song. Keep one song. Oh. Okay. I saw Twisted, but the nasty ghetto is just like, you know, it's sitting right there. So I'll say Twisted because I feel like you're going to get nasty ghetto. Yeah.

01:14:37 --> 01:14:58 I mean, I would have just said the other one regardless. So yeah, Nasty Ghetto and Twisted are also the two that I was thinking of. Yeah. And probably sometimes in there as well. Heidi, get out. Yeah. But Nasty Ghetto is the one. Yeah. Okay. How to keep a song. Not going to choose a single here. Yeah.

01:14:59 --> 01:15:08 Because it's very obvious what I would choose, I think. Yeah. I will choose, I think, between Buster or Conversations Over.

01:15:08 --> 01:15:32 Conversation over is mine. Okay, so I'll take Buster. I was like, Conversation over? Yeah, that's a good one. Strong one. Very feisty. But also, there's, again, bonus episode B side tracks. Could have smacked a lot of these songs out of the park. Yes, that's right. Yes. Okay, so overall thoughts and final rating on this album. What do you think? This is your first time listening to three.

01:15:32 --> 01:15:43 Okay. I was very proud of myself. You did a good job raising me as a sugar bop. Assault king? What was it again? I call it assault fellas. Assault fella.

01:15:44 --> 01:16:03 Again, if you're new here, we've been trying to figure out the Sugar Babes fandom name. Like, does it need one? No. But Saltfellas felt natural. Sugarbops is a personal thing between Chris and I and another friend of ours. We do look like the Sugar Babes. We all hang out. It's hilarious. Like, you know. But yeah, as a Saltfella Sugarbop...

01:16:03 --> 01:16:33 I think you did a good job of introducing a lot of these songs to me. So I wasn't like super jarred or like, oh my God, what's happening on this album? Like I understood what was happening. I do appreciate the cohesiveness of it. Again, I don't think it's their strongest because of some of the choices that they made in terms of their standard. But I think it's pretty good. And the lyrics, I have no complaint. Like I sit here, if I can't latch onto the song because of the melody, the lyrics at least have to be good. And I can't say that I was listening to this and being like, oh my God, this is the worst lyric ever.

01:16:33 --> 01:16:52 So shout out to them for being able to articulate their cool, chilled thoughts, but with so much emotion in their vocals. So I like it. My final score though, I gave out some really low ones. I have to be kind of realistic about it. Yeah. So I will give it a seven. Okay. Okay.

01:16:52 --> 01:17:22 7.5 maybe. But yeah, the 7. I think it's pretty sweet to give. We love the pun. Yes. Okay, well, before I give my thoughts, I have to give our Patreon producer, Ryan, a shout out. Because he feels that 3 really cemented Sugar Babes as a true girl group that meant business. He also wanted a shout out to Lost in You as the track. He said it's a gem. It's an answered prayer, a moment. And the video is so good.

01:17:22 --> 01:17:30 And he also praised the Sugar Baby's vocals On the album He said they devour every time The mic stays on with the harmonies

01:17:30 --> 01:17:58 Yeah. Pretty solid recalibration. I mean, like solidification of their sound for sure. Yeah. Yeah. Yeah. I will say this album is not my favorite of theirs in their discography. I would actually say it might be my least favorite of Sugar Babes 2.0 lineup. I think Angels and Taller are actually better than this album. Yeah. Because I think it just has a lot of filler in it.

01:17:59 --> 01:18:24 Like, I feel like I could take seven of the 14 tracks and make a really good EP out of it, you know? And the rest, I can kind of take it or leave it a little bit. Yeah. Or put in the B-sides instead, as you were mentioning. But I will say, I never got bored. Like, I feel like each song is quite different. There's some really interesting production elements across the whole thing as well. And lyrically...

01:18:24 --> 01:18:48 very strong even in some of the songs i didn't love melodically the lyrics are actually really well thought out and well written um and of course the singles run is quite good as well like those four songs as a singles run are very strong super solid super solid so yeah so i'll give it a 7.5 okay um not bad at all but not amazing

01:18:48 --> 01:19:15 No. Yeah. And if you disagree, that's okay. You can love this album. Yeah. We don't have to agree with you. That being said, Sugar Babes fans! Salt fellas! Salt fellas, yes! What do you all think of the three albums? Let us know in the comments and tell us what other artists or albums you want us to review next. And a huge shout out to our CCTV crew on Patreon. That's Hillary, Lily, Emily, Darius, Phoenix, Wren, George, Julianne, Jonathan, Janelle, Luke, Ivana, Wyatt...

01:19:15 --> 01:19:43 Ryan and Celeste, we cannot do this without you. And also, I could not breathe. So that's good. Good sign. Again, you can follow us everywhere at CCTV Pops. And if you are watching us on YouTube or at freaking 10K almost, join us, okay? Don't forget to like, subscribe, and turn on those notifications. And if you are listening on a podcast app, a follow and a rating really helps. Until next time, that's Chris. That's Chantel. And you're tuning in to CCTV, the nonstop pop show. Too lost in you.