Aside from being melodically barren the cursive singing on I Love You Sorry is also rotten. It sounds like she is singing with a mouth full of food.
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BIG POP GIRLS 2024
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Because her mouth is full of the nachos of others!!!
Solenciennes
Staff member
I would have kicked out Gracie and the Wicked songs first but I don't care enough for Lifetimes either.
"Just serve cunt, for ONCE in your damn life"
[Violet looking at Nina West]
"Just serve cunt, for ONCE in your damn life"
he/him
Other Gracie song and Tate next and then we are GOLDEN and ready to get to the good stuff.
HIGHEST
9 x 1 (@Daniel_O)
LOWEST
0 x 1 (@happiestgirl)
Wanna know the real reason I included this? So I could snatch the title of doing the write-up for the most controversial song of the rate, right from under @Laura Vanderbooben and Katy's noses. However, despite the inclusion of this track mortally offending some of you ad nauseum, it received a staggering lack of zeros - a paltry singular digit amongst a sea of 4s, 5s, and... even a 9!
Not a huge amount to say here, to be honest. Beautiful chords, lovely chords. Beautiful pitched vocals, lovely pitched vocals. As with all the songs on its parent album, everything here is sourced with meticulous care and intent - the heavy sample comes from Chuck Berry's track of the same title, and is an ode to Ms. Tina's home state and the 'Creole babies and Cajun queens'. It also serves as an effective bridge between the truly electrifying YA YA and the 'oop, this is the point in the album where Beyoncé gets horny again!' (never fails to make me kick my
Commentary-wise, again, barely a crumb! @happiestgirl sneers, "Is this even her? Unnecessary." *grumbles something about the album's structural integrity*
But to round off our reveals for the night, I'm going to take a leaf out of @Big Bang's book - here's a final set of reasons why I included this track:
Confess. Confess. Confess. Confess. It felt good, beating me about including OH LOUISIANA. Starving me. Frightening me. Humiliating me. You didn’t do it because you cared about the integrity of the songs included in this rate. You did it because it felt good. I understand. I do things because they feel good. I included this song/interlude because it feels good. I deeply questioned some dubious ballots because it felt good to be rid of them. I listen to OH LOUISIANA on repeat because it feels good to have it swirl around my eardrums. I lie about listening to OH LOUISIANA on repeat because it feels good to keep my listening habits safe from hateful hypocrites. I killed your jibes and your complaints and sneers. All those filthy remarks. Because it felt good to watch them burn. It felt good to imagine your shock and their pain when this song/interlude didn't come last. No thought has ever given me greater joy.
Even confessing feels good, under the right circumstances.
Well, there's five of us who clearly love a bit of angst from a singer/songwriter with Aaron Dessner production, I love the fact this forum gathers up little teams of people who love the same niche.
Me listening to the interlude and looking at the graphics at the top of the poster:
Taylor sounding like Mariah compared to Gracie in that duet on the previous page. Rough
Any/All
How about thinking of Oh Louisiana and Desert Eagle as parts of the multiple-genre journey of YAYA that leads straight into RIIVERDANCE? I know that's right! The way some of you are doing the absolute MOST by kicking out this incredibly inoffensive track before getting rid of Tate McRae's dumpster fire or whatever five identical Anthology tracks were clogging Taylor's hard drive.
I'm glad that Bey got all of her microsongs in the rate but "OH LOUISIANA" absolutely shouldn't have been included here (and instead lumped with the interludes) solely because there's zero Beyoncé on it but okay, I see "Goodnight Gotham" was included in the 2016 edition. "Chillin' With You" got into the Britney rate too.
