![]() And fine, strip it back if you must, expose the lyrics, but don’t then mangle them in a subpar John Newman impersonation. She never felt like a good person to relate to, but this bears so little nuance that it seems he might think otherwise. Her performance suggests conflict, his confusion. Robyn sang with the bit between her teeth Scott sings with a sponge in his mouth. Christ, the original! Synths twinkling, blinding, beautiful, painful lights burning into a self-opened wound. ![]() That was why Calum Scott carefully removed almost every fundamental aspect of the song - especially the raw and visceral ones. ![]() Completely ignorant of what makes the original a new classic. Katie Gill: Calum Scott is the modern day Gary Jules: both took a fairly good song and removed every inch of fun and individuality the original had, leaving a soulless, dull, drippy, overwrought and needlessly melancholic final product. In Calum Scott’s coarse hands, the boring straight guy takes back the night and it’s as if love and dancing never happened, just crocodile tears and halitosis.Ĭassy Gress: Why would someone turn a song that sounds like sparkly tears rolling down cheeks into this yowling, soppy mess? Is there not enough pain and suffering in the world? Did he watch Donnie Darko too many times? That I hear “guy” in “I’m not the girl you’re taking home” gives her track a “When You Were Mine” resonance. Or even if you don’t, actually.Īlfred Soto: Robyn’s original drew strength from its plaintive take on a theme that never loses its poignancy: affecting self-reliance because the object of desire doesn’t desire her. Thomas Inskeep: I wish I liked Scott’s voice - a little reedy for my ears - better, but I love the smart recasting of Robyn’s aching dance-pop chestnut as a stripped-down ballad. ![]() You think you’re an interpreter? If you just came to say goodbye, then say it and fuck off. For fuck’s sake, child, don’t change the lyric to “the guy you’re taking home” when it makes no sense to do so having kept “her” in “watching you kiss her.” She’s taking a girl home, and you’re not that girl. The complex, emotionally resonant song becomes a grim sulk. By contrast, in leaving lines out making the song feel disjointed, trying to wring unnecessary pathos out of the song by over-emoting, and taking the song off the dance floor and into the room of a crying, pouty teenager, Scott makes one bad decision after another. You empathise with her while thinking she might be a bit prone to doing something bad or embarrassing, and if there’s a better dancing-with-tears-in-your-eyes pop single this decade, I can’t name it off the top of my head. Pharrell WilliamsĬlaire Biddles: I see the busker I reported to the police for playing acoustic versions of Robyn songs outside my office window last year got himself some paid work.Įdward Okulicz: Why yes, thanks for asking, Robyn’s unhinged-stalker-breakup classic is rather good when you strip it down to just words and melody, isn’t it? The reason Robyn’s recorded version of her rather good song is brilliant is because she made excellent decisions on how to arrange and perform it.
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