Discussion in 'Charts, rates etc' started by Daniel!, Jun 1, 2015.
This should not have beaten Forever Is Over...see ya!
Last Call is boring, I'm surprised it made it this far.
Last Call is simply beautiful a gem in their discography ultimately their best ballad and Mollie sounds angelic throughout.
It's definitely not the track from 'On Your Radar' that should have gone just now, but still, it has done amazingly well so I won't complain.
Just thinking about the song kinda makes me sad. It's really relatable if you have ever ended a relationship with someone you've been with for years, yet remaining on excellent terms with that person. It's so hard from that point to totally move on. It's so much easier when you actually hate the guy, ha!
Anyway, boo-hoo, but top 30 is still great.
Yes, I'm so proud!
It was so sad to see Frankie cry during "Last Call" on tour. She must've had a hard time writing a song like that. Wasn't it just around the time her and Dougie broke up? She's always seemed to gravitate to putting more into the ballads.
The next blasphemer who heaps the shade on My Heart Sl*ys Over will be reported and read the house down.
It is with some regret that I post this next one...
Can't stop this heart from givin' in...
One spark and it's starting up the feelin'!
Highest Score: 10 x 14 (Daniel!, Pim-Em-Elle, Utopia, runrocketboy, Red Coat, Lindsay Lohan, Entropy, Jam, MollieSwift21, Remorque, Totto, Conan, TheAlmightyAloud, Markus1981)
Lowest Score: 4 x 4 (munro, Sweet Music, Jacques, imaduck)
The b-side to “Ego”, this was also the title track for the b-sides collection that came with the Finest Selection box set. It was co-written by the girls along with Hannah Robinson, who also wrote “I Can’t Wait” and “Why Me, Why Now”, and Popjustice faves “Some Girls”, “Bittersweet”, and “Chewing Gum”. I gave this a 10, so I’m not exactly pleased that it’s out, but it did way better than I anticipated! The chorus is absolutely killer, and I think if the production was beefed up a bit I could have seen this as a single, and I love those little “flashback… flashback… flashback” chants behind the final chorus.
runrocketboy is in agreement: “their b-sides are literally almost all single worthy. This one especially. Absolutely incredible,” as is Deborux: “this actually could have made a great single and video. The chorus is such a high,” and Mikey1701: “Not as relentless as Golden Rules, but this one of the Saturdays best b-sides. In fact, it would have made a great single. When will your faves?” Indeed! WhenTheSunGoesDown takes it even further: “A B-Side that's better than most pop acts' lead singles. Such a great chorus, and I always enjoy these kinds of melancholy dance vibes. Like "I'm sad but I'm also dancing!”,” and Red Coat simply calls it “amazing”.
JamesJupiter thinks it should have at least been on the album: “Really should have made it onto Wordshaker,” as does Entropy: “YES. One of my favourite B-Sides. Takes me back to Christmas time 2009. I love the lyrics to this, and the chorus pops and just comes at you. This could have easily made the album, it’s better than some of the album tracks, why did it have to be relegated to the realm of B-sides?”. GhettoPrincess also agrees: “Love this b-side, Vanessa sounds great but Una shines on the middle 8. Should've been on the album,” and Pim-Em-Elle too likes Una’s middle eight: “one of my favourite songs and b-sides. 'Can't stop this heart from giving in...' totally. It helps that I really related to the lyrics back then. And it's probably one of those b-sides that could use more exposure. The middle eight is my favourite part. Una slays me!”.
Guy isn’t that big on the song, but does pick out Una’s part: “I always think I enjoy this song more than I actually do. Nice for a b-side, I guess. Una's solo is the obvious highlight here,” and Vixen calls it “overrated, but nice enough,” while munro just says it’s “nothing spectacular”. Boo!
Midnight says: “Generally, the better B-side from the Wordshaker era. The verses are rather solid, but it's all about that chorus. Its melody insists terribly on staying inside my mind. Rochelle's delivery on her line could put me to sleep, though. One of her worst vocals. But she partly makes up for it in the middle-8”. Totto would probably take up issue there, but at least you mentioned that ad-lib as he does: “Just newly found love for this. Never knew Rochelle had a big ad-lib after Una’s middle-8!”. Philllll also has a newfound enjoyment of the song: “It finally clicked, the constant build-up is great”.
Finally, tylerc904 calls it “really good,” and phily693 has something of a revelation: “This sounds nothing like I remember? I’ve been under the impression that this was a ballad? I’ve been duped! This is pretty damn good”. Yes!
What the actual fuck?!?! No way should Last Call be out this early. Biggest pop injustice
I don't think Frankie would have much to do with writing Last Call if anything at all. It was just Una at the writing session with Lucie Silvas and Charlie Holmes.
Flashback outlasting Last Call?!?!?! HELL NO!!!!
Not bothered by the last two cuts, especially this late and after Forever Is Over's exit.
@WhenTheSunGoesDown that picture is fucking incredible! I wonder if @Vixen still finds you adorable with that Mollie attack.
Noooo at Last Call getting eliminated! It deserved to be top 20 at least.
Flashback (my score: 8) would've been a hell of a lot better with some oomph in the production. Last Call is one of my 10s, such a shame to see it go! (I also thought it was only Una who wrote it with Lucie and Charlie?).
I can't hold it back....
He's a fatal attack...
I better watch out!
Highest Score: 10 x 7 (Sweet Music, Midnight, Utopia, phily693, Call My Name, SophiaSophia, TheAlmightyAloud)
Lowest Score: 3 x 1 (imaduck)
This rocket-powered dance banger was released as the b-side to “All Fired Up”, and is another one to be produced by The Alias. phily693 says it’s “another brilliant B-side from them,” and Pim-Em-Elle likes that production: “it's an enjoyable listen and I like it. It sounds so sleek”.
Entropy also enjoys the production: “This song is wow. I didn’t think much of it at all first off, but then it hit me like a lot of Saturday’s songs in the past. The chorus is such a powerhouse and is so fierce. The production suits the album era it’s from too, it could easily be slotted into the track list. Vanessa is on point in this song,” and Totto also thinks it would have slotted right into On Your Radar: “This suited so much better on OYR than some other songs”. Vixen thinks otherwise, however: “One of their best b-sides. It could have made a decent album track, but I’m not sure it would fit the sound of ‘On Your Radar’ somehow. Also, let's just appreciate how Mollie manages to sing a part of a song better than Vanessa does. You go, King!” but Guy is another who thinks it was perfect for the record, though also stans for Mollie: “Surely this should have made the album? It's too good to be just a b-side. Mollie's "I just can't igNORE" is truly sensational. Career highlight”. Absolutely!
Jacket says: “Literally the definition of basic but I love it in spite of, or probably because of it,” and Mikey1701 is laid to waste by how amazing the song is: “What is there not to love about this track? Give it to me ladies and leave me weeping in your wake”. Shockbox calls it “very Xenomania,” and WhenTheSunGoesDown might be disappointed they’re alone in their comparison: “I wonder if anyone will -not- make a comparison to Womanizer, but it really is super blatant. Still, they rip it off SO well, I can't complain”. I don't hear it but, if anything, I’m sure Mollie will be thrilled to have a Saturdays song be compared to Britney!
Deborux gives us the only negative comment on the track by saying it’s a “forgettable factory-line song,” but never mind about that when Midnight gives us THIS: “Wow. A lot of tease for imagination. It's like activities taking place on an imaginary A&E dealing specifically with bad romance and terrible heartbreak cases. I can quite feel the poison sinking deep into the veins with that aggressive production. Every minute passing till the poison slowly works its way to the heart; all of it accompanied by sharp as a knife and electrocuting synths and stressing sound effects. Drowning in dramatic melodies, lyrics and instrumental bits. My favourite moment has to be the second chorus. The production doesn't leave much hope for the 'victim'. They can run all they want... You just know that heart will fall terribly! Truly, one of the best dancepop instrumentals I've ever heard”. I’m speechless!
I really thought everyone would comment on how much this is like Womanizer. Guess it's just me?
For those of you wishing that "Last Call" had made it further, let me twist the knife by telling you it was actually in the top ten for quite a while near the beginning of the voting period!
It's better than "Womanizer".
Not that that says much. Oop.
Aw Ladykiller is fun. What the FUCK is Denial still doing here?
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