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Apr 11

COLOR ME BADD – “I Wanna Sex You Up”

Popular62 comments • 4,629 views

#665, 8th June 1991

The best thing about “I Wanna Sex You Up” is its bounce – the first swingbeat Number One (and so the first modern R’n’B number one in some sense) is full of springy confidence. Compare it to the New Kids’ hits from a year or so before and this is an altogether slicker proposition – the boyband and street music elements on those records were awkwardly cut together, whereas “I Wanna Sex You Up” feels unitary. The beat and samples here mesh with the crooning and pleading, and the whole thing feels deliciously light. At its heart New Jack Swing was an updating of doo-wop – groups of kids standing on imaginary corners, harmonising, playing off each other, serenading passing girls. And “I Wanna Sex You Up” has some of the weightlessness of doo-wop – that repeated “woo-oo-oo-oo-ooOOoo” hook an anti-grav belt round the song’s waist.

It also has a rather unfortunate title. Not because it’s too frank, mind you. I’ve seen the argument that the shift in pop away from coded mentions of sex to explicit ones has meant a decline in creativity: songwriters used to have to work harder and more poetically if they wanted to bring desire to life. That may be true, but the coded songs also helped spare blushes: metaphor was the lightswitch in pop’s bedroom. In any case, the problem with Color Me Badd’s track – if any – is the mismatch between title and delivery. The group sing the song like pleading kids who are trying out the word “sex” as much as planning to do anything about it, which gives “I wanna sex you up” its mildly ludicrous tint. (The lyrics wander further off-message with the very odd “we can do it till we both wake up”). But this shouldn’t detract from a breezy pop song, a wad of bubblegum which anticipates a host of boyband tracks for the next two decades, and betters most of them.

6

Comments

  1. 1
    punctum on 27 Apr 2011 #

    No comment – category C.

  2. 2
    punctum on 27 Apr 2011 #

    Correction: category A.

  3. 3
    weej on 27 Apr 2011 #

    I’m afraid the only reaction I’ve ever had to this song is “this is boring, when does the chorus start?” and then it never does. The “woo-oo-oo-oo-ooOOoo” bit is ok, but I’d prefer to listen to Strawberry Letter 23 any day.

  4. 4
    lonepilgrim on 27 Apr 2011 #

    Tom’s review pretty much sums up my reaction to this – a good groove and production, a committed performance and dodgy lyrics.
    There’s some precedence to this kind of thing – from Barry White for example – and Prince managed a fine balancing act between the sublime and the ridiculous by acknowledging both.

  5. 5
    Rory on 27 Apr 2011 #

    @3: Color Me Bored?

    (Me too, pretty much.)

  6. 6
    logged-out Tracer Hand on 27 Apr 2011 #

    in high school our version went:

    I wanna hack you up
    (rip rip, cut up – chop!)
    All night

    Let me tear off all your limbs
    Disconnect the phone so nobody knows

  7. 7
    Steve Mannion on 27 Apr 2011 #

    It’s too light for me. After those “tick tocks” I just find it too nauseating. I like the heavier Teddy Riley R&B stuff (BBD, Guy) more but of course it sold less (here at least). 4.

  8. 8
    Tom on 27 Apr 2011 #

    #7 I fluctuated between 5 and 6 and I think the sunny weather told in its favour. The same guy also did the slightly heavier, but still very bubblegum “Poison” by Bel Biv Devoe, which I like more.

  9. 9
    pink champale on 27 Apr 2011 #

    at the time i hated this, really hated it. it felt like a direct assault on everything i valued and was: slick and smooth, where i wanted grainy and abrasive; ruthlessly professional, where i wanted cack-handed amateurism; and – most of all – sexual confident to the point of slime, where i was all, well, cack handed amateurism. short version: it was not indie.
    having made progress on some of these fronts in the last twenty years it sounds pretty good to me now.

  10. 10
    Chelovek na lune on 27 Apr 2011 #

    Ah, but what about the two different versions of this? (And the curious fact that the one that gets the most radio airplay nowadays is not the version that was available as a single at the time…)

    The thing is, compared with the steamier disco numbers of the 1970s, this is angsty and tame: Barry White was the Walrus of Love, maaan. One could sense that his heart, his emotions, the whole of his body was into it…and he knew what to do

    Whereas these guys…are much closer in spirit to … well, Chesney Hawkes, really. A bit whiny, a bit adolescent. Not good lovers, one might have thought.

    (There is another unconvincingly sexual number 1 I’d like to slag off some years in the future, for broadly similar reasons, but the bunny will lick me up and down if I even allude to it any further)

    Tedious and embarrassing. Not a good combo.

  11. 11
    flahr on 27 Apr 2011 #

    Just seems a bit ridiculous to me, and not in the good way. Shame.

    (I may be being unduly influenced by the video here.)

  12. 12
    thefatgit on 27 Apr 2011 #

    I remember New Jack City being quite successful in the cinemas at a time when Hollywood was at a remarkably low ebb (not for much longer, when a certain video store clerk turns auteur, possibly filming/editing around this time). The soundtrack is mostly remembered for Ice T’s “New Jack Hustler”, which seemed at the time to be a re-invented hip hop “Theme from Shaft” for the 90’s. Color Me Badd’s track on the other hand just fades into the background. I had to be reminded it came off the same soundtrack album.
    IIRC, critics were quick to tag the movie as Blaxploitation, presumably because there was a Van Peebles on board, but it seemed much more slick and less rough-edged than those 70’s examples. Melvin Van Peebles’ “Sweet Sweetback’s Badasss Song”, and Iceberg Slim’s “Pimp” got retrospective attention from the critics of the day as if to foment a Blaxploitation revival on the back of reports that there were full-blown gang wars in South-Central LA and New York.

    At that time, Color Me Badd never really seemed like the start of a new genre, as in my mind it seemed to have the fingerprints of messrs Jam and Lewis all over it, who had produced Janet Jackson’s wonderful “Control” album, and I kept on thinking that, but Wiki tells me it’s Dr Freeze (Elliot Straitt). You learn something new every day.

  13. 13
    lex on 27 Apr 2011 #

    I have such fond memories of this – at the time I was totally scandalised by it (they had the word “sex” in the title!) but also found it completely irresistible musically. So hooky, those “ooh-ooh-ooh-ooh” harmonies undulating through the whole thing are so effective in giving the whole thing this sort of snake-hipped motion. I used to think that the title and the way it was all expressed was a bit cheesy, which it is, but these days I basically approve of it because it weeds out people with the mindset of Pink Champale 20 years ago! Slick, smooth, professional, sexually confident: these are all GREAT THINGS in pop. Abrasive cack-handedness: BAD THINGS.

    The best “oh-oh-oh-oh” vocal hook of this era was Jade’s “I Wanna Love You”, though. Who else remembers that, and “Don’t Walk Away”? Both serious “best song ever” contenders.

    On a related note, this has always been one of my most treasured compilations. Another good litmus test of people’s character! If you look at the track listing and find yourself thinking OMG BEST SONG EVER over and over again – we’ll get along.

  14. 14
    flahr on 27 Apr 2011 #

    That’s it! The reason it seems a bit ridiculous is that it does strive so hard for slickness but it still comes off as a bit cack-handed. Er. If that makes sense, and with the standard YMMVs etc.

    I did go and listen to it again without the video and it was better than I remembered it. Tick-tocks and “oooooh”s are pretty nice as others have observed.

  15. 15
    Tom on 27 Apr 2011 #

    I think it sounds a lot more gawky (in a really endearing way IMO but not to everyone) now than it did then. A wider historical review helps – as people said up above this is clearly a bit less sophisticated bedroom-wise than the likes of Barry White, but on the other hand there’s something amazingly cute about that sense of trying on your older brother’s clothes. There’s nothing sleazy about CMB, it’s quite an open-hearted track.

  16. 16
    Mark G on 27 Apr 2011 #

    I didn’t really *get* it until seeing the TOTP performance.

    The elongated “ss-eeeexxxxxx….” and the arm/movements, and the twofingered kiss after the line’s been sung…

    It reminded me of a modern day four tops.

  17. 17
    Chelovek na lune on 27 Apr 2011 #

    Sorry, Lex :( There’s some stuff there I like, but little that’d come close to approaching “best song ever” in my book. Standout track on that list for me probably Mica Paris’s (with uncredited Omar Hammer) “I Should Have Known Better”) I still recall Jade’s “Don’t Walk Away” fondly, at least

    But, huh, Bell Biv Devoe surely came up with a superior take on the same genre as this, and, finally, had a big hit with it a year earlier than this. But they were a BIT sleazy. “Me and the crew used to do her” indeed.

  18. 18
    Pete Baran on 27 Apr 2011 #

    I loved this at the time, last few weeks of School EVER, a nice sunny June and a lot of no school ever again parties to go to, the promise of sexing up was in the air. It is a pity that we didn’t get a Bel Biv Devoe number one but this is in the same wheelhouse, and I completely get Tom’s streetcorner doo-wop suggestions. There is something floaty about it which, admittedly gets grounded by some of the dafter lyrics (but then there is an innocence in them as well).

    Notable for its role in the film New Jack City too.

    Also notable was the name of the lead singer in Color Me Badd: Bryan Abrams. Its almost a Nostradamus like warning.

  19. 19
    lex on 27 Apr 2011 #

    Oh yeah, Bell Biv Devoe and Boyz II Men were always better than Color Me Badd. Weirdly I’ve always thought of the supposedly more sophisticated Barry White as off-puttingly cheesy, rather than the more youthful (and fun) New Jack Swing kids.

    Re: “we can do it til we both wake up” – I love that line, it’s like the sex is so good that you even dream about it afterwards (and also an indication that the entire song isn’t real, yet – it’s a dream itself, an unfulfilled fantasy).

  20. 20
    Tom on 27 Apr 2011 #

    Well Barry White is cheesy! But with an experienced glint in his eye. New Jack Swing – the big-charting stuff – is more Music To Pretend This Isn’t Your First Time to.

  21. 21
    Birdseed on 27 Apr 2011 #

    There’s something slightly off-kilter about the rhythm here – could be the slightly different starts to the melody and the accompanyment, or the slightly drawn-out feel to those eight notes that form the basic backing, but this has a rhythmic spring to it that I find highly appealing. I like quiet, non-austentatious rhythmic complexity, me.

  22. 22
    Pete on 27 Apr 2011 #

    I remember a Spitting Image sketch from around this time noting the number of songs that mention sex like Latour “People are still having sex” and predicted a come back for David Essex as he had sex in his name. This song is just reeks of 1991.

  23. 23
    anto on 27 Apr 2011 #

    Flippin’eck not this one. Well thank you Colour Me Bad, thank you Salt n Pepa and Divinyls and Right Said Fred and all the other acts who had MASSIVE HIT SINGLES with KINKY TITLES during that latent mind-boggling summer of 1991. It was so sweet of them to wait until the exact moment when I became curious about what Ted from Grange Hills actual role was in his girlfriend Chrissies pregnancy (Justine Dean and Chrissies Dad both gave him a right whack for it must have been something), the point where I found myself nonplussed by the title of Nancy Fridays Women on Top which might as well have been called Women on Top of a Double Decker Bus for all the sense it made to me and Catholic schooling threw in a bit of inner conflict to make things really claustraphobic.
    I try not to be personal to such an uncomfortable a degree as this on Popular comments but I might as well be open about the real reason why I resented this song simply because I only have to hear those harmonies and find myself almost wincing at the thought of my clueless pre-teen self. I always thought their haircuts were awful as well.

  24. 24
    Billy Smart on 27 Apr 2011 #

    “Slick, smooth, professional, sexually confident” – Wow! I’d imagine that whatever the four antonyms of that list are must be the most accurate description of myself possible… I’m not sure that those are the qualities that I hear in Colour Me Bad (as we call them in England), though. More like warbly and insistent. (Great compilation, though)

    Does anyone actually ever use the expression ‘sex you up’? Being sexed up sounds more like being persuaded to wear something ostensibly sexy than actually being made love to or having sex.

  25. 25
    Paulito on 27 Apr 2011 #

    This and “Shoop Shoop Song” are surely the two least-deserving sixes you’ve handed out yet, Tom…don’t go soft on us now, boy!

    @24 – I think the expression “being sexed up” sounds even worse than that. It sounds like an inexperienced youth being subjected to an inappropriate come-on by a sleazy older person.

  26. 26
    Billy Smart on 27 Apr 2011 #

    #2 Watch: A week of Amy Grant’s ‘Baby Baby’. I quite enjoyed that one, in an unremarkable way.

  27. 27
    Billy Smart on 27 Apr 2011 #

    TOTPWatch: Color Me Badd performed ‘I Wanna Sex You Up’ on the edition broadcast on 13 June 1991. Also in the studio that week were; Sonia, All About Eve, Lenny Kravitz and Massive Attack. Jakki Brambles was the host.

  28. 28
    Garry on 27 Apr 2011 #

    I was 14 when this came out. You’d think I’d be sniggering at the use of the word sex, but neither I nor anyone in my class had time for this track. It was like saying the word was too easy, too lazy. Besides the rest of the class were too into GnR, and I bemoaning the rise of nu-soul and r’n’b and the loss of those great late 80s pop-rock tracks (Underneath the Radar ot The Perfect Day anyone?)

  29. 29
    tonya on 28 Apr 2011 #

    This is the kind of record that in the old days would have gone to R&B stations with a blank cover. I thought this song was a lot cooler before I saw the video (or maybe an Arsenio Hall appearance?) and realized how white and chubby they they were.

    Nice for Slick Rick to be on a #1 though, while he was in prison.

  30. 30
    swanstep on 28 Apr 2011 #

    I don’t rate this track (or New Jack Swing more generally) at all. Not entirely sure why: I like a lot of different kinds of dance music and r’n’b and I enjoy lots of loverman soul from White to Vandross to Maxwell, but I’d be happy to never hear another song from CMB or Bell Biv Devoe or… In fact the latter seems relatively easy to arrange: I never hear this stuff any more whereas, I dunno, TLC from a little later is still all over the place. From Lex’s compilation above it was En Vogue that jumped out the most for me: one never hears them anymore either, which is too bad.
    Anyhow: 3

  31. 31
    Mark M on 28 Apr 2011 #

    I like a whole bunch of the stuff on the comp Lex linked to, but I also felt – and still do – that much of the New Jack/Jill Swing stuff was a bit insipid. But listening to I Wanna… again, it’s really not bad at all – 6 seems fair.

    New Jack City was written up as part of a coming wave of black cinema, but it has nothing in common with Boyz n the Hood other than the ethnicity of the characters and the presence of a rapper in a star role. It actually belongs firmly to the family of Scarface – not just the Pacino one (which I think the characters watch), but also to the original and maybe even more to the Warners gangster movies (gangsterism as the one route to social mobility in an unjust society – also anticipates The Wire and Stringer Bell in a genuine interest in the business of the drug business). And it set up Ice-T with his second career playing cops.

  32. 32
    MikeMCSG on 28 Apr 2011 #

    Category T (as in not my cup of ..) for me.

    Could anyone attempt a definition of “swing beat” ? Genuinely interested.

  33. 33
    nicknickdesbois on 28 Apr 2011 #

    Although the members of Color Me Bad are all fairly white, when it appears in the film New Jack City it’s being sung by a black and/or Hispanic group (gathered around a burning trashcan for added “street” IIRC). They were thus instantly and amusingly dubbed Color Me In by my friend Ian.

  34. 34

    I hadn’t heard this for a long time, and probably never really listened closely when it first came out — I was busy editing a magazine that wasn’t primarily pop-driven — so I was surprised that (a) it sounds so sophisticated, and that (b) the reason for this is that it reminds me, in tone and feel and least, of Dr. Buzzard’s Original Savannah Band; and specifically “I’ll Play the Fool”… or am I tripping?

    http://www.youtube.com/watch?v=QI7mHkSLkz4&feature=artist

    Anyway, this is surely an element in the evolution of swingbeat — DBOSB’s Stony Browder was finding a way through from jazz-era beats to disco; and Teddy Riley et al were picking up on these same rhythm shapes in the age of the drum-machine. (Mike I don’t have the technical drummer’s language to detail what’s particular to this beat; but it’s surely the shuffle feel, the very precise asymmetrical distribution of accent, tum ti-tum ti-tum ti-tum etc…)

    Lex, do you know Dr. Buzzard’s Original Savannah Band? I think they’re up your street!

  35. 35
    will on 28 Apr 2011 #

    Yes, a summery, harmless-enough Number One that is hamstrung by that bleedin’ awful title. I actually preferred the Motown-ish follow up, All 4 Love, though. (I think it was called All 4 Love, anyway)

  36. 36
    MikeMCSG on 28 Apr 2011 #

    # 34 Thanks for that.

  37. 37
    thefatgit on 28 Apr 2011 #

    I wonder if Silvio Berlusconi played IWSYU at any of his Bunga Bunga parties. Could be his theme tune.

  38. 38
    Alex on 28 Apr 2011 #

    Sexing anything up will never be the same after the Hutton report.

  39. 39
    Erithian on 28 Apr 2011 #

    Indeed. I treasure the memory of the day we were being given a presentation at work about the management’s plans for the coming year, and someone muttered to me “this report has been sexed down”.

  40. 40
    Pete Baran on 28 Apr 2011 #

    So are we implicating Color Me Badd in the death of Dr David Kelly?

  41. 41
    chelovek na lune on 28 Apr 2011 #

    (racks his brains to think if there are any New Jack Swing tracks that refer to “dodgy dossiers”. Or failing that “burying bad news” will do)

  42. 42
    lex on 28 Apr 2011 #

    @34 no I don’t but I distinctly recall someone making a comparison to them when Estelle’s “American Boy” came out!

  43. 43
    Alfred on 28 Apr 2011 #

    Great new jack:

    Guy
    Keith Sweat
    Johnny Kemp’s “Just Got Paid”
    Bobby Brown

  44. 44
    Alfred on 28 Apr 2011 #

    I don’t change the station when BBD’s “Poison” comes on, but they were rather gross. If not for the wistful bridge (“She’s drivin’ me out of my mind…”), this is a song in which these guys want you to hate the bitch they’ve all taken turns screwing.

  45. 45

    Also, Dr. Buzzard’s OSB then morphed into Kid Creole and the Coconuts, one of whom fathered Binkie in yr beloved Electrik Red!

  46. 46
    Ed on 29 Apr 2011 #

    #31 Good spot on the theme of upward mobility in New Jack City, which I remember loving when it came out. It starts out as standard street realism, but then each time we fast-forward to a new phase of the characters’ lives, they have been transformed by their accumulating wealth. They become comfortable, then opulent, then ludicrously lavish, until by the end they are living in what appears to be a vast Gothic castle, with furnishings to match. And as you watch that progression, the mood changes, so it mutates from being a film about The Streets to something more mythic. The Pacino / De Palma Scarface tries the same trick, and New Jack City pays homage – as you say, the gangsters watch it at one point – but NJC outdoes it, I think.

  47. 47
    Weej on 29 Apr 2011 #

    Seems like nobody’s really that into CMB – this song is currently the sole ‘6’ in the readers’ bottom 100.
    One thing I don’t think has been mentioned so far is the bizarre “disconnect the phone so no-one knows” line. Why doesn’t he want anyone to know? Is he ashamed of being seen with her? Is it going to be “our little secret”? However you look at it it’s hardly seductive. If it was “disconnect the phone so nobody disturbs us” it wouldn’t scan, so I hope that’s the reason it’s like that.

  48. 48
    Steve Mannion on 29 Apr 2011 #

    I think it’s because it’s the same girl from ‘Poison’ who has since learned how to infiltrate other songs. Truly she’s dangerous.

  49. 49
    wichita lineman on 30 Apr 2011 #

    Re 45: Aha! I was just about to say Dr Buzzard’s OSB remind me of Kid Creole… never heard them before Mark, thanks for that! Sunshower is gorgeous, too…

    “Their 1976 song, “Sunshower”, has been sampled by a number of artists, including A Tribe Called Quest, M.I.A., Ghostface Killah, De La Soul, and Doug E. Fresh. It was also remixed by Japanese recording artist, Fantastic Plastic Machine.”

    …how the heck have I missed them all my life?? I think their name made me think they’d sound like Commander Cody and His Lost Planet Airmen, or Ozark Mountain Daredevils. Silly me.

    (quickly revises Kid Creole entry in Bumper Book Of Pop)

  50. 50
    lonepilgrim on 30 Apr 2011 #

    I remember Ian Penman plugging DBOSB in the NME in the early 80s when he was celebrating the art of the torch song – I managed to pick up a couple of their albums on vinyl back then and loved them.

  51. 51
    LondonLee on 30 Apr 2011 #

    Julie Burchill used to big up August Darnell on occasion too. I remember her swooning over ‘Off The Coast of Me’

  52. 52
    hardtogethits on 1 May 2011 #

    #47, fantastic observation. There is a statistically significant link between the scores awarded in the reviews and their ranking in the FT readers’ chart. Although correlation does not necessarily mean causation, en masse we have not ranked lowly anything Tom’s given a 6 or higher, and nor have we ranked highly anything Tom’s given a 4 or below.

    Here, however, the emperor is naked. This is excruciatingly indiscreet and completely charmless. Color Me Badd could open to our ridicule and scorn, or our kind-hearted pity, but heavens no, not our praise. Another dreadful 1.

  53. 53
    Tom on 1 May 2011 #

    My suspicion – whether voiced on here before or not I don’t know, but I’ve said it in the pub a few times – is that the correlation you’ve talked about will weaken considerably in the 90s and 00s: partly because I like and value different things from the last 20 years than the average fan of 70s and 80s pop, partly because there’s a lot less consensus generally over *what* to value, at least when it comes to singles.

  54. 54
    chelovek na lune on 1 May 2011 #

    Julie B would surely have killed to have come up with the line “If I was in your blood, then you wouldn’t be so ugly”

    (Hhhhhhhrrrr, the less said about their Prince-associated mini-comeback mini-hit not inappropriately entitled “The Sex Of It” the better. A nice groove, for sure, but even EP tracks and Christmas singles like “Dear Addy” were rather finer from the Coconuts when they were at their peak – and that’s a fact – before you break your back and have a heart attack)

  55. 55
    lex on 1 May 2011 #

    I’m actually somewhat surprised (and highly DISAPPOINTED) that the readers’ score is so low. Shame on you all! (I have a feeling I might be saying that a lot in the years to come; we’re still only at the very start of my own proper pop-listening career.) (I gave this an 8. The majority of the New Jack/Jill Swing classics – “Motownphilly”, “Poison”, “Don’t Walk Away”, pretty much everything En Vogue released – would get unhesitating 10s.)

  56. 56
    swanstep on 1 May 2011 #

    @lex. IWSYU just has that one chord pattern, and I find myself waiting and waiting in vain for something/anything else to happen musically (at least some new timbres, I’m dying by the end….I mean Massive Attack’s Safe from Harm is in the charts at the same time as IWSYU – that’s how to hit a single pattern hard and mix up the timbres over the top, right?). I *do* quite like the backing vox in IWSYU, but the main vocal line just irritates; it isn’t nearly good enough or varied enough or basically fun enough to carry the song I find. I suppose my feelings about this track might well have been different if, say, Prince or Mariah were up front to sell it.

    Anyhow, I’m feeling no shame! I’d give Don’t walk away a 7 or 8, the best En Vogue singles 9s, and Safe from Harm a 9 or a 10.

  57. 57
    Cumbrian on 1 May 2011 #

    Good to see En Vogue getting some praise here. I thought they were pretty good at the time and their best stuff verges on my favourite tracks of the broad church of modern R&B. My Lovin’ (You’re Never Gonna Get It) in particular is tremendous – really well put together with snappy drums, a James Brown funk guitar in the back and even the flute works well. Of course, the vocals were really on the mark too – I remember being really impressed with the 1940’s vocal breakdown in the middle.

    Supposedly they’re going to release a new album this year (at least according to wiki, for what that is worth). I’d be interested to hear it.

  58. 58
    LondonLee on 1 May 2011 #

    En Vogue’s ‘Funky Divas’ album is top class too.

    I never minded this record at all, despite the silly title, so 6 seems about right to me. Though my abiding memory of it and the group is the lead singer’s mustache.

  59. 59
    Alex on 3 May 2011 #

    I thought they were pretty good at the time and their best stuff verges on my favourite tracks of the broad church of modern R&B. My Lovin’ (You’re Never Gonna Get It) in particular is tremendous – really well put together with snappy drums, a James Brown funk guitar in the back and even the flute works well. Of course, the vocals were really on the mark too – I remember being really impressed with the 1940′s vocal breakdown in the middle.

    +1. Correct.

  60. 60
    The Lurker on 20 May 2011 #

    The title is what struck me at the time (aged 16) – it just didn’t sound idiomatic at all, more like something that someone whose first language wasn’t English would say. It would only make sense if it meant “I want to give you a sexy makeover”, which it clearly doesn’t. That made it resolutely non-sexy from the outset. (Can anyone from the other side of the Atlantic confirm if the title is idiomatic over there?)

  61. 61
    hectorthebat on 26 Mar 2015 #

    Critic watch:

    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1002
    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    Dave Marsh (USA) – Postscript (102 Songs) to The Heart of Rock & Soul (1998)
    Michaelangelo Matos (USA) – Top 100 Singles of the 1990s (2001) 70
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)
    Village Voice (USA) – Singles of the Year 25

  62. 62
    Musicality on 21 Jan 2020 #

    Everything about this is great, vocals, harmonies, backing music. The one off putting thing though? Those awful corny lyrics, which undermine all that good work.

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