Discussion in 'Charts, rates etc' started by Daniel!, Jun 1, 2015.
Up needed to leave like 40 spots ago.
If only that White Lies cover was the Move on U one @Daniel! It is perfection.
Buy some taste.
WHITE LIES DESERVED TO BE TOP FUCKING 3!
No but in all seriousness, I'm delighted it made the top 10! Such an anthem.
Also this top 10 is gonna make a killer playlist.
Their Top 50 makes a playlist that renders most everybody else's irrelevant.
Up or Work to go next please. To me they're the weakest part of this top 10, White Lies deserved better.
I'm just going to keep asking that All Fired Up goes until it does. See y'all after the #3 song has been revealed...
I really want my 11 to take the crown.
I was too generous with some of these songs... What even? I'm deeply rooting for Up. Definitely.
Rooting for Up to go next? Good choice.
Get a grip.
Praying Notorious isn't Top 5.
Notorious is Ina's Frankenstein's Monster. I mean you can literally hear her wail in horror at her creation during the song.
(OK so it's not that bad but there are much better songs in their discography that have already been knocked out so I'm ready for it to be gone, gone, gone...)
Praying for you.
Don't be bitter because you ain't a bad bitch, @Scaper.
Basically. It's a nice song. Not very Saturdays like, still a bop, cool elements, sick beat, still lacking something that makes an absolute pop stormer. I appreciate it though. I think it deserves top 20, not top 10. (Top 15?)
Clearly you guys couldn't get it from Frankie's energy.
Are you ready?
Are you set?
Highest Score: 10 x 21 (Vitamin, Mikey1701, Shockbox, Pim-Em-Elle, Hudweiser, Utopia, Fascination, JamesJupiter, ankh, runrocketboy, phily693, Philllll, Vixen, flapjack-, Jacket, Jacques, Jam, MollieSwift21, Remorque, Totto, Jersey)
Lowest Score: 3 x 1 (Call My Name)
This was released as the final single from Chasing Lights due to it being such a fan favourite, and it seems to have upheld that goodwill over the years, if this rate is anything to go by. Unfortunately, it didn’t do as well in the actual real life charts (#22), but the album had gone platinum by then so who’s really that fussed. The song was performed on (and gave a title to) The Work Tour, as well as their three other headlining tours. I have a slightly random comment to make here, but I’ll go for it. When Mollie sings “I think you can, I think you can” in the verses I have always been reminded of Casey Jr, the circus train from Dumbo. You know, the bit when he has to climb a hill. Anyone? No? Thought not. On with the show!
Jersey cites it as the song that baptised him: “The song that got me hooked on them and the best song on the album! Thank the Pop Lord for it,” Mikey1701 thinks it should have smashed: “The absolute highlight of the album and one of their best tracks period. Everything about this so fucking right. It's perfection is instant and the British public should be ashamed that they never brought into this. It also deserved better than being single no. 5. A true popinjustice,” and runrocketboy agrees: “ahhhhhhhhh, the number one that never was”. that boy is a monster also thinks it deserved to do much better: “I'm not really sure what happened here - but this should have been a bigger hit. Shedding the colour coding and sexing it up a little, some people said it was too soon but I liked it,” as does CasuallyCrazed: “should have become a #1 drag anthem for the ages,” and munro thinks it’s top tier Sats: “One of the best in the whole of The Saturdays discography its such a stand out”.
Pim-Em-Elle gets sexy right now: “I was honestly indifferent towards this song in the beginning, but then one day it just bloomed a place in my heart. I'd definitely put this song on when I 'work' a pole and get my sexy on. I guessed the video helped a bit. Gosh, this songs just makes me feel that I could seduce anyone I want (which isn't the case). Well, it's also a really good song for working a catwalk”. tylerc904 also likes the video, although is not as big on the song as he once was: “I used to stan for this one but I have grown to prefer other singles to it. The video was so exciting at the time,” and Call My Name takes things to the extreme: “One of their weaker singles. I’m just not a fan. Cute video though”. Blasphemy!
As we are all no doubt aware, the song was remixed ever so slightly for the single release, with the bass being beefed up (particularly in the verses) and the quirky, erratic synths which had been a highlight being buried deeper in the mix so as to be almost imperceptible. A perplexing decision, which Shockbox rightly thinks it was an unwise decision: “Album version is way better than the single mix,” but Midnight decides to rate the single version: “The brilliant string section immediately draws me in. I've grown to appreciate the single mix more. The harder beat, additional sound effects, more audible background vocals... Throughout, the production is quite varied and has many flavours to it. Mhm, good!” Takes all sorts, I suppose. Blob calls the original song “overhyped” and adds that “the Cahill remix is MUCH better,” and Philllll is also a fan of said remix: “The Cahill remix is EVERYTHING. This is the song that started it all for me, which is why it holds a special place in my heart. Mollie’s opening is gorgeous and she kills the video. Love the chorus”. It is a bop.
Speaking of Mollie, she gets some much deserved praise here, with MrJames saying: “There was a time when I thought that this had become a bit dated, but I've done a 360 and seen the light again. And, I mean, MOLLIE”. YES. Entropy thinks her verse in this is among her greatest moments: “This song is so stompy and fierce, definitely a good single choice. I’m quite surprised it didn’t chart higher but I suppose for a fifth single it did reasonably well. Mollie is so good at the beginning and it is one of my favourite moments of hers. I remember loving it so much purely because she did the whole first verse (I was in love with Mollie when they first came out, I still am in fact)”. Well, naturally! GhettoPrincess likes that it was The King’s first true time in the spotlight: “Used to love this, it was the first big solo from Mollie. The song is still great especially the chorus but not quite a standout song anymore. I prefer the album version over the single remix. Vanessa and Una's adlibs are great,” and phily693 found it a pleasant surprise: “Easily one of their best singles. It’s just oozing pop and sass. Mollie opening the song is a great surprise. They don’t make choruses like this anymore, the ad-libs in the final chorus are glorious! Keisha would be proud”. Jacket references her iconic cow impression: “I get my absolute life to those opening synths and Mollie’s subsequent live bum note,” (budget Brigitte Bardot queen) but Deborux has to put a downer on things: “I can’t get into this as much as I want because I find Mollie’s vocals truly unlistenable. The chorus is undeniably huge though”.
Totto actually speaks some sense, appreciating Mollie and highlighting Una’s amazing ad-lib: “Yet another great example of how a good pop song should sound like. From Mollie intro to Nessa’s lovely verse to Frankie sassy’s pre-chorus to Roch’s catchy middle-8 to Una’s best ad-libs “Put ya boots on BABEH” The only dud is the really weird robotic “Work Work Work” that seems to be Rochelle”. Let’s take a moment to enjoy that little nugget of Rochelle shade from Totto. 2014 calls it “a catchy tune” and adds: “Love the ad-libs over the last chorus. A pure girl group number,” and DJHazey thinks it has that classic girlband sound too: “The production is retro sounding and I love it! The chorus is just good enough here, but the verses are incredible. This is especially true with Vanessa when she takes things to another level with "It's time for you to step..." YES! and then how because of this we get a key change by default to the little prechorus that really trademarks the song for me”.
See if you can parse what imaduck likes about the song from this comment: “SASS SASS SASS, that's what these girls do best, On that note, let's start a new band, the Sassurdays”. WhenTheSunGoesDown bizarrely thinks it sounds like “Up”: “I guess Up worked well for them so they decided to release it again?”. Is it that the title is repeated? Because that’s all I’m getting. Guy thinks the song is a car crash: “I was bopping to this song so hard one day while driving I lost focus and rear ended some soccer mom in a minivan and nearly totaled my car. I no longer listen to The Sats while I drive”. Take that as a lesson, dear voters!
To finish, enjoy Vixen’s amazing explanation of why the song is so damn good: “What a stomper. Seriously, it’s The Saturdays at their best. Glossy, pop, feisty, even a bit fierce. Sultry vocals everywhere, and all those ad-libs could bring Jesus back to life (again, that is). Mollie’s verse is obviously a standout in their entire discography and so is her iconic bum note and ya’ll will deal with it. In fact, her verse might even be better live when she drop whole thing down a key or two. Her low register has something really sexy about it. Vanessa is on phenomenal form in 'Work' too, but that's not surprising considering she was at her peak. I don't think Una is severely missing here, but her few contributions here and there are amazing (those ad-libs!). Again with this one, the production is also an highlight, there’s something a bit captivating about the instrumental. That's probably just me, though. What a gem, seriously”. Gold star!
Drinking game: do a shot every time Rochelle grabs her hair in the video.
Separate names with a comma.