Who Did It Better? Show Me Heaven, Part II - The Dance Edition

Who Did It Better? 

Show Me Heaven

Part II - The Dance Edition

As noted last week... Some songs resonate with a certain country, returning to the charts there time and time again. Such is the case with today's Who Did It Better? selection.

Show Me Heaven is a power ballad written by singer/songwriter Maria McKee (former lead singer of Lone Justice), Eric Rackin and Jay Rifkin.

As you read last week, it found success in the UK recorded by Maria McKee and Tina Arena. In addition it was also recorded in that same manner by Robin Zander of Cheap Trick and Laura Branigan.

However, that was only half the story.

The song would reappear on the UK charts twice more... as a dance song. Yes, it seems the UK's appreciation of this particular song was hardly over.

In 1997, Chimera, a group name used by back-up queen Miriam Stockley, had a dance version of the song which reached #70 in the UK, Stockley, a distinctive singer in her own right, served as back up singer to the stars - Queen, Freddy Mercury, Brian May, Hanoi Rocks, Roger Daltry, Bonnie Tyler, Elaine Paige... the list goes on and on. At age 11, she had a hit in 1976 in South Africa with a remake of Blue Suede's Venus - light years before Banarama got their hands on it.

Then, in 2003,  another dance version by Saint, featuring vocals by Suzanna Dee, reached #36 in the UK in 2003. Suzanna Dee has recorded with the likes of  Nicki French, Saint, Matt Pop, Groovesisters, and Rene Ablaze, as well as her own solo output. To this day, she remains a featured artist at many a Pride festival.

In addition, it was recorded and released again a, a dance single in 2007 by Belgium's Jessy with frequent collaborator Mickey Modell. Jessy started singing when she was eight years old and began her recording career in 1995 as a member of Belgian dance act The Mackenzie ft. Jessy. In 2001 she decided to go solo, finding success with her album, 2002's Rain which featured a trio of popular songs. As for her version of Show Me Heaven, while it did find its way into the clubs and onto the compilation album Clubland 12, it did not make the charts.

And that's the whole story.

Now? Onto the competition. 

The Song: Show Me Heaven

The Competitors: Chimera vs. Saint feat. Suzanna Dee vs. Modell feat. Jessy 

Show Me Heaven - Chimera

(Radio Edit)

Show Me Heaven - Saint feat. Suzanna Dee

(Video Edit)

Show Me Heaven - Mickey Modell feat. Jessy

(Radio Edit)

Chimera

That intro... meh. It's fine. Her voice is fine, too. Once the hi-hat kicks in it feels a bit off, like either the singer or the drums need to catch up, but that resolves as the singer starts the build to the chorus. 

I like her voice. It's treated with lots of reverb, but ethereal all the same. The way her voice breaks brings to mind Maria McKee, whose version I believe this is the answer to. It's sort of a tradition in dance... big ballad single yields dancefloor knock-off. And there's good reason... some of the best dance songs are, at heart, a big ballad with a fat beat underneath it. 

The winning feature is that little bubbly triplet that keeps coloring things. Otherwise? This is a very clean presentation. The vocalist isn't fighting against anything or having to compete for attention. 

Unfortunately, that rhythm track gets overly busy on the chorus, mucking up things, making it feel a tad off. That's a frequent occurrence in Euro-pop Dance mixes like this. Sadly, it cheapens the whole affair. 

And so it continues into the second verse. What doe it remind me of? A galloping cardboard pony. It's a very dead sound and far too busy for this rather plaintive ballad. The the meld the bubbling to the bass line which is supposed to appease us, I guess.

I don't know that I would dance to this. 

And that's the true test of a dance song. It feels very lightweight, disposable and forgettable. 

That said, the vocalist, Miriam Stockley, is really quite lovely.  Wow... I've reached this conclusion at the 1:30 mark, leaving me with two plus minutes to wade through. 

And then, for the second build up to chorus they add cardboard bongos? Why? It's like they're sitting at the board going, "Well, okay, and then what if we add this, huh? That's different. That's something we haven't had before." They're just piling on. 

A slight treble organ underneath the second chorus? A synth, at any rate. I just can't tell if it's supposed to be organ-like or string-like. 

Always love the drop out point in a dance mix. Mainly because of what happens with the lights on the dancefloor. Typically everything that's been flashing brightly and moving about is stilled and you get just the white sprinkle lights that flicker with the tinkly synth still featured in the mix. It's a welcome opportunity to catch your breath and check yourself to see exactly how sweaty you've gotten.

The C-section brings aboard the exact synth expected. Sounds a bit dated now... as does this whole mix, but it was of its time, for sure. The vocalist sure delivers. She's got a number of voices to draw from, which, no doubt, is why she's such a successful back-up vocalist. On the C-section she sounds like Bonnie Tyler on a good day. 

It's the rhythm track on this thing that ruins it for me. So cheap sounding. Which is too bad, because Stockley brings the goods. 

Saint feat. Suzanna Dee

Sorry to use the video version of this song, but the only other version is a remix that runs seven plus minutes and I am reticent to try your patience (or mine) that much. 

Some seven years later...

That tempo feels a bit rushed, no? Ms. Dee is making quick business of those lyrics. I don't mind her voice at all. 

Wow... this just rushes by so fast. That rapid piano and insistent beat put this thing in maximum overdrive and keep it there. 

The drop out at the 1:28 mark is welcome relief. I am rather enjoying her strident vocals. This certainly isn't attempting to ape the original in any manner. 

The arrangement is a bit staid and of the period. I don't know if this would have me running to the dance floor. It's all beat and blare; there's no groove - I like me some groove. Also, at this stage in te game, I don't think I could keep up with that beat. But that could be because I am in a real mellow mood at the moment. 

I like this quieter moment with the vocalist. But it doesn't last long. Why are we in such a rush? This feels rushed.

Does Ms. Dee strike you as a bit shrill? She certainly can bite off the end of a phrase and punches every note. If she is shrill, I don't mind it. 

That back beat they add at the 2:29 mark made me laugh. It seems such a cliché now.

It gets very house near the end with that that series of ascending chords.

Frankly, the whole thing feels like we're off to the races from note one. 

I'm on the fence. It was sort of fun.

Mickey Modell feat. Jessy

Fast forward four more years... elements of house have come home to roost, coloring lighter offerings like this. 

Pitched lower and much more earthy, I do appreciate the softer intro. Jessy has a bit of slyness to her vocals and she's in good form. Modell certainly is having fun. Odd thing is, the tricks he's pulling with her vocals are those used by producers to make up for the deficiencies of a given vocalist; Jessy doesn't seem to need any help, so he's simply stroking himself here. 

We continue with that slow build, but you can hear the storm brewing beneath. But it all seems for nothing... that chorus doesn't take off for me, it's impact not as big as I'd hoped. This is very clean, and a tad ethereal. Jessy's vocals strike me as a bit on the pedestrian side. I was hoping she'd open up her sound more on the chorus. 

Very Ibiza. 

I used to be very into this sound. I remember having a discussion about four years ago with this clerk at a gas station. Whenever I'd go pump gas there, he would be playing some mix tape - and it was all of a kind. I think I mentioned three or four DJs/mixmasters and his eyes got huge and we sort of bonded for a moment over our love of this stuff. 

I do wish Modell would quit messing with Jessy's vocals. It's not helping.  Ugh, he even goes so far as to use auto-tune on her, ala Cher. Again, Jessy doesn't need it. I think her vocals are straight forward and fine. 

The echo effect on the C-section is simply annoying. As is the rather shrill sound created when doubling her vocals. 

Oddly enough, even with all the mucking about on Modell's part, this would indeed get me to the dance floor. I can't explain it. I think it is the fact that it harkens back to those halcyon days. Yes, it was a very drugged out scene, but there was also such a sense of community.

The Verdict

I dunno. 

They each have something to offer. But they each have something that has me looking askance at them. 

I rather adore Miriam Stockley's vocal performance. Yes, it apes McKee's a bit, but she also brings to play additional sounds. I particularly enjoy her Bonnie Tyler moment. But the arrangement left me wanting - it felt lazy and undercooked. 

Suzanna Dee acquits herself quite nicely. A very strident vocalist, but effective. And, well, at least she kept up with that cardiac inducing tempo. I didn't think much of the arrangement. It seemed rather staid. 

And while Jessy sounds in fine form, it's Modell mucking things up for her. I do love that Ibiza-influenced arrangement, though - and it is the only one that would get me to the dance floor. So, despite my misgivings about all the cheap ass vocal manipulations Modell insisted on inserting, and the fact that Jessy is probably the weakest of the three vocalists (she never really asks much of herself), I guess I am going with the Mike Modell feat. Jessy version. 

--- ---

And that's enough of me.

Okay, your turn. You know what to do: leave your thoughts and choice in the comments section.

I'll be very curious to hear what you have to say about these. 

That's all for now.

Until next time...

Thanks for reading... and listening!

Show Me Heaven - Chimera

Show Me Heaven - Mickey Modell feat. Jessy

Who Did It Better? A Deeper Love

Who Did It Better? 

A Deeper Love

When the Netflix series Pose began the ballyhoo to launch their final season, they chose a song to play underneath a montage of images from the show. It was one of those cases where music and image join to make a powerful impression. As I watched, my memory machine went into overdrive trying to place the song. I knew, immediately that it was Aretha Franklin - because hers is one of the most distinctive voices ever recorded. Then I flashed onto the year Arista records released a greatest hits album of hers, highlighting her tenure at the company. 

It was A Deeper Love. 

Two weeks later, our friend Sixpence left a comment stating that the song would be perfect for a chapter of Who Did It Better? - and I had to go research what it was he was talking about. 

I had completely forgotten that A Deeper Love originally belonged to someone else!

So, get out your excavation shovels and let's all dig a little... deeper. 

--- ---

Written by Robert Clivillés and David Cole (C+C Music Factory), A Deeper Love was released in 1991 as the B-side for their remake of U2's anthem Pride (In The Name of Love). While Pride got to #6 on the US Dance chart (#54, Hot 100), A Deeper Love, credited as Clivillés & Cole and augmented with vocals by Deborah Cooper and Paul Pesco, created its own buzz, as DJs began flipping the 12" and including the song in their sets. 

Knowing an opportunity when they saw it, the dynamic duo did something they'd had previous success with; they re-released a B-side as an A-side. 

Andy Beevers from Music Week said that "just when Pride has dropped from the charts, its B-side - which was the track most DJs were playing anyway - re-appears as a single in its own right. The brand new 12 minute long Deeper Feeling remix, executed by C+C themselves, is even more anthemic than the original and is strong enough to take the song back into the Top 40." 

Pumped up with a bit of additional studio wizardry, A Deeper Love, re-released in 1992 would become their fifth #1 on the US Dance chart. It would also nab the #44 spot on the Hot 100 and #83 on the R&B chart. The single fared even better overseas, hitting #15 on the UK chart and #8 on the Dutch Top 40. 

Slant Magazine would rank A Deeper Love at #5 on their list of 'The 100 Greatest Dance Songs of All-Time' in 2004, with the song slipping to #16 when they updated the list in 2020. 

Fast forward to 1994. 

Clive Davies wants to release a greatest hits album paying tribute to Aretha Franklin's years on his label, Arista. To sweeten the deal, a couple of new cuts were crafted, with Clivillés & Cole's A Deeper Love getting the nod. 

Featuring backing vocals by Lisa Fischer, Clivillés & Cole were brought on board as producers. Released on January 31, 1994 as the lead single for the collection, history would repeat itself, as Franklin's version claimed the #1 spot for two weeks on the US Dance chart. It would also hit #30 on the R&B/Soul chart and #63 on Billboard's Hot 100. 

The single would find additional exposure as a specially mixed version was played over the end credits of Whoopi Goldberg's film, Sister Act 2: Back In The Habit - marking the second time an Aretha Franklin song had been used as a theme for a Goldberg film (the other was 1986's Jumping Jack Flash.)

Of Aretha's take on the song, Andy Beevers from Music Week gave it 5 out of 5, stating that it "manages to be even more uplifting than Clivilles & Cole's 1992 original. The track has all the hallmarks of a big hit." 

Of Note: 

The song received a 2011 revision by dance legend Tiësto, featuring uncredited vocals by Anastacia. Titled, What Can We Do (A Deeper Love), it borrows a sample from the Aretha Franklin version of the song and was featured in commercials for Škoda Auto. Anastacia would release a solo version of the song in 2012.

And that's the whole story!

Now, on to the competition.

The Song: A Deeper Love

The Competition: Clivillés & Cole vs. Aretha Franklin

(I hope you have 24 minutes to listen.)

A Deeper Love - Clivillés & Cole

A Deeper Feeling Mix

A Deeper Love - Aretha Franklin 

C+C Music Factory Mix

Clivillés & Cole

I thought about using the radio edits, but with dance music, you really don't get the full effect of what the producers were going for unless you consume the full meal. 

I love this opening. It takes me back. It's dramatic and meaty. Those chords strike fiercely announcing that something major is on its way. 

Deborah Cooper has one of those voices that define an era of dance music. Like Marth Wash, whom she is frequently mistaken for, the lady knows how to dig deep. 

This opening keeps reminding me of The Clark Sisters (You Brought The Sunshine.)

Love the lyric, "Cuz I got bills to pay..."

Such a bright, lively sound. As producers, C+C had mastered a means of manipulating vocals, causing them to absolutely spring forth from the mix. It was a sound that served them well throughout their careers. 

At the 1:29 mark, this oven has been pre-heated. Still, they tease. While stellar, the a capella  vocals start to sound a bit shrill. But I know where were heading, (to church), so I'll just vibe on those occasional instrumental attacks. 

At the 2:16 mark, we are set to go. I like the rhythm track, considered a bit standard these days, but back then it was cutting edge. It has aged well. That cheesy synth organ, on the other hand? No. No thank you. 

Ms. Cooper sure knows how to preach. It's her vocals, not the wheezy synth, that is selling this thing. By the 3:20 mark, I am in the zone, ready to testify. That was the thing with going to the clubs. Your job could be crap. Your love life in the toilet. You could be feeling bad about who you were or where your life had brought you, but once you got on the dancefloor - with the lights and empowering music such as this - none of that mattered. Songs like this gave us hope and the ability to, as Martha Wash would say in 1993, Carry On. 

The call and response chorus works so well. The whole song is a self affirmation. And the repetition works because it helps cement that feeling of wellness. Deborah is speaking in tongues as all those "no's" morph into something akin to scatting. And when everything drops out, except that plucked synth bass line, how lovely. Supplemented with that off-beat keyboard riff, it brings a whole new dimension to the song, as if entering a second act. 

Man. This mix emphasizes just how much a dance song lives or dies on the skills of its singer. Cooper is masterful; she's got all the colors in her crayon box! Yes, it's all brassy, but then.. it's dance, y'all. Now, granted, there is a lot of editing and splicing taking place, which is how they achieve that whiplash vocal effect, but even that is on the vocalists tray to deliver.

That Average White Band inspired riff that sneaks in... fun. Oh, and then that record scratch. Classic breakdown tool. 

So, at the 6:00 mark, we are basically starting over at square one. This always gave everybody on the dancefloor the opportunity to simply strike some poses as they caught their breath. From 5:51 to 8:21, the same scatted vocal drives the whole song. Yes, there's an additional scratch, some backing synths, a brief backing vocal reprise, some slight Crystal Waters inspired scatting, a funky horn, and then the main chorus vocals, but running beneath it? The same bee boppin. That's a lot to put a listener through, but when on the dancefloor? It flies by pretty quickly.  

At 8:22, the song reboots (again). Although, now we're on the downslide. We have that shotgun guitar lick, the swelling muted synth strings, some robotics. I have to say, C+C rarely allowed any one instrumental element from overstaying its welcome - though one could argue that those spliced vocals qualify as an instrument, in which case I'd be wrong. Because, as experienced with the previous bee boppin, we are now being pummeled with variations of the Crystal Waters inspired scatting floating on top of said bee boppin.  And, yes, child - this is too much for someone merely listening. I am now numbed to it's trance-like powers, despite bringing together that cheesy organ synth and bottom-feeding keyboard riff in the final stretch. 

Twelve minutes is a long time. I am not that patient of a listener. And we still have two minutes to go! (Frankly, I didn't think I'd make it this long.) Some nice keyboard work on the way out. I do respect that player's chops. The robotic stuff is fun; very Alan Parsons. 

The final breakdown comes with that funky horn. I have to say, one has to remain in the zone in order to enjoy this whole pie. Taking it slice by slice, it wears one's patience. 

A gem, a fascinating timepiece. 

Aretha Franklin

So, again, I could have gone with the radio edit, as that is the version most of us are familiar with (as found on the Arista greatest hits collection), but it only seems fair that Aretha receive the full 12 minute treatment granted Clivillés & Cole.

I don't like the spliced vocal beginning. It goes on for a full minute. I do like the rhythm track; it's a classic, used by many artists during this time period and remains a remix go-to. There's a lushness to it that makes it a perfect foundation. 

Diva is taking her time making an entrance. In music, as in life, I guess.

Liking the insistence of the background vocals during the first 30 seconds of the second minute. When they double backtrack the thing, its a little messy, but at least its something different. And the gospel breakdown at the 1:40 mark is golden. That hoary old organ synth is okay, a little thick and muddied. 

Ah, there she is.... six seconds after the two minute mark. She's in full gospel throat from moment one. Which is nothing for the lady who practically invented the damn sound. I love her voice... so big, solid and that tone... unlike anyone else. You can hear how well her vocal style works with the dance music of the time. Martha Wash, Deborah Cooper - all the ladies who have this gift owe a great deal to Aretha. 

This song and production?  It's a great fit.  

I like the simplicity of the instrumentation, allowing Aretha to rule unopposed. Simple finger snaps and that driven organ work fine. Thirty seconds after her entrance, things are starting to bubble up and at the 2:50 mark? I was hoping they would kick into drive, but no... we are going to coast on the full rhythm track. Aretha, on the other hand has no intention of coasting. Love those yeah-yeah-yeah's of hers as she kicks in the second verse. 

That weird wah-wah synth guitar accent on 'welfare, charity...' - doesn't work for me. Too distracting and too high in the mix. By the 3:22 mark, Aretha is cookin' in the kitchen with all the burners on. The one line that really stands out for me in Aretha's version is, "It's the power that gives you the strength to survive." And the fact that she takes that line and goes deep into her alto actually calls more attention to it than if she shouted it out gospel style. 

If you don't recall that line from Clivillés & Cole's version that's because it's not there. Additional lyrics and a bridge was added for Franklin's version. And I like the bridge... a lot.

Franklin lets loose post bridge. Nobody wails like that girl. 

And she's not about to let up. I love how they reintroduce the bridge backing vocals at the end of the repeat of verse one. Nice touch. 

At the 5:19 mark we got some bee-booping robotics to chill with. And I am done with this at the 5:53 mark... it could fade out and I would be a happy camper. I do like when they drop everything out except the vocals and the rhythm track. Very effective.

And at the 6:06 mark, exactly four and a half minutes after Aretha made her entrance, we return to the beginning with those spliced backing vocals. The 6:06 mark is when it should end. I can't imagine what more any of them, including Aretha, have to bring to this. But we are only half way through.

After the drop out (you know, when the dance floor would go all dark except for a few star strobes throbbing with the bass) we then have a rebuild: beginning with the women's chorus ramping up, accompanied by the rhythm track, then joined by some whacky sax. Aretha, herself, clocks back in at the 8:12 mark with some sampled/spliced vocals that end with an extended/spliced sustained note. 

Huh. Then we have another breakdown/drop out, but this time there's a synth pad of locust swarming in as the background singers carry on. And then that disappears, leaving just the background singers, one of whom flails away (but that ain't Aretha, honey). Did they think we would be fooled? 

Oh, dear. Aretha (sampled or not) checks out at the 8:44 mark, never to return. The remainder appears to be the backup singers trying out their best Aretha-like moves, with none succeeding, until they applaud each other and call it a day. Or maybe that was all Lisa Fischer? Not sure.

Now, I don't know why I am watching the clock - I promise you I am so-not 'that guy' at work - but Aretha manages four and a half outstanding minutes plus another minute and a half of sampled work. So out of the 12:06 this mix has to offer, Aretha contributes six minutes worth. 

I wonder if, by that point, Clive had to pay her in cash for every note?

Joke aside, the woman is amazing and gives 100% here. 

The Verdict

Yes. Aretha gives 100%. 

But when I went back and started listening to the two vocalists side by side? Even though I like Aretha's version of the song with the additional lyrics and bridge, I still find myself liking Deborah Cooper's style a bit more. Cooper's delivery is crisp and clean. She toys with syllables and vowel sounds. Her attack is much more energetic. 

Aretha's attack is not as crisp. It feels a bit weighed down. 

I want to call this a draw. 

I like the energy of the original Clivillés & Cole version.

But I like the actual song much better once they added the additional lyrics and bridge for Aretha's version. 

And Aretha's performance? While not her finest, is better than 90% of what's out there. 

If you're going to force me to choose? I will go with Aretha, because for me...

The song is the thing, baby. 

And this one wasn't completed until she sang it. 

Now you can take that one of two ways... but I stand by what I just said.

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That's my two cents worth. How much you got in your pockets?

Leave your thoughts in the comments section. You know how I love to hear from you. And a differing opinion? Always welcome. 

Hope you enjoyed this as much as I did. 

Thank you, Sixpence! You my Chicago boo!

And thank you, all, for reading (and listening!)

A Deeper Love - Clivillés & Cole

Video Edit

A Deeper Love - Aretha Franklin

Video Edit

What Can We Do (A Deeper Love)  - Tiësto

Third Party Remix

What Can We Do (A Deeper Love) - Anastasia

Kristine W. Scores Her 16th #1

"Fade" hits the top of the Dance/Club Play chart at Billboard this week. This marks the 16th time she has reached the pinnacle.

I purchased Remix Collections #1 and #2, and have found that my favorite remixes are Chris Thomas' Black & Blue Club Mix (9:08) and the Johnny Vicious Warehouse Mix (8:11). Both are stellar. The Chris Thomas mix reminds me of some old Donna Summer remixes. Both these can be found on the second collection. As for Collection #1, I really wish the versions were longer. They all feel like radio edits and are numbingly the same. It would have been nice to hear the remixers take and open up the song in a longer format. A third remix collection just came out. I haven’t had the opportunity to purchase it or listen to it yet.

This song left me a little cold. Kristine’s voice seems a little on the tired side. There is a throat rasp that lends credence to such a suspicion. Also, the high notes are rather broad, having lost that marvelous focus that made her superior to other divas. Okay, so I’m being picky here… even less than perfect Kristine W. is still damn good music. I do wish she’d take some time off and rest her throat, though.

Her latest tour – “Love Never Fades” - will land in Minneapolis on Sunday, June 26, 2011 at the Lush Bar located at 990 Central Avenue NE as part of Minneapolis Gay Pride Week. Something tells me I will be hitting the town that night.

So – just because I love lists and Billboard Chart rankings, here is a list of Kristine’s hits and how the ranked on Billboard’s Dance/Club Play chart:

1994 Feel What You Want - 1
1996 One More Try - 1
1997 Land of the Living - 1
2000 Stronger - 1
2001 Lovin' You - 1
2003 Some Lovin' - 1
2003 Fly Again - 1
2004 Save My Soul - 1
2005 The Wonder of It All - 1
2006 I'll Be Your Light - 2
2007 Walk Away- Tony Moran featuring Kristine W - 1
2008 The Boss - 1
2008 Never - 1
2009 Love Is the Look - 1
2009 Be Alright - 1
2009 The Power of Music - 1
2011 Fade - 1

Congrats to Kristine and all those who work for her organization!

Pull Up to The Bumper, Baby: Dance Reviews 2008

Reviews of dance singles from the second quarter of 2008.

Jo Frances – Brass In Pocket *
Unfortunate. Jo's voice is certainly up to the task, if a bit heavy on the testosterone. The track is multi-layered too much, which, while giving it a kind of power, ends up distorting and masking her intended inflection and nuance. As for the choice of song... some things just shouldn't be messed with. It was perfect the first time. I’m afraid, despite the dance beat, I’d rather hear Chrissie’s original.

Britney Spears – Break The Ice (Remixes) **
Hmmm... I wonder if Brit's name was not associated with this one would it garner any attention? This elicits a very Randy Jackson response from me... it's just okay. It sounds like a hundred other similar offerings. I know Brit's in there somewhere, but this thing is so over-produced it's hard to find her. I wish one of the remixer's had stripped the thing to find its core (but if they did, would there be anything of substance)? In the end... it's decent. But it wouldn't get her in the final round.

Donna Summer: Stamp Your Feet *****
WOW! Get this now! I love pleasant surprises. So nice to have Ms. Summers back. Voice is better than ever. And for a change, the material is her equal. Great song. Song of the Summer (pun not intended)(apologies to Madonna). The mixes are all great... tip of the hat goes to Ranny Big Room. But the DiscoTech is a guilty pleasure and a lot of fun. Burgundy has gotten this right so far (I loved ‘I’m A Fire’. Crayons' future looks bright. Kudos to Perfectbeat for snagging this one!

Jenna Drey: All Out Of Love *
"...it was so wrong". Well, it still is. Sorry. I'm sure this was well intended, but it is one painful piece of tripe to endure. Only the "unplugged" mix works, but even that suffers from a phonetically-derived delivery from Drey (she pushes the beat on the chorus rendering it robotic). Her reading is so perfunctory, it sounds phoned in by a speak and spell. (Does she speak English? Just curious.) Not that the song is any great shakes to begin with - it actually makes me shudder. Oh.... oh, no. (I'm sure it will be a big hit).

Madonna: 4 Minutes ****
This one's time is almost up, but it really has taken me this long to form an opinion about it. Like a lot of the other reviewers, it took me a long time to warm up to it. It is just SO OVER-PRODUCED (although I like the high school band thing). Madge is just buried in there and her personality is nowhere to be found. Justin skates by unscathed and actually adds a bit of charm to the whole thing. That said... I've ended up embracing it anyway. It's not a Madonna song - it belongs to her collaborators. It is a piece of product and that is it. So if you divorce yourself from the idea that what you wanted was something from Madonna, and just accept what you did get here... it's a lot of fun. I like the urgency - although I have no idea what any of it means (for the longest time when they sang the word 'interest' I thought they were singing 'ninjas'. (I actually like 'ninjas' better.) The mixes here add nothing of value.

Tracy Young Presents Ceevox: What's Done Is Done ****
This turned out nicely. Love her delivery... so sly and knowing. Subtle. Reminds me a bit of Ultra Nate'. That said... it is a bit old school - but the song itself and its message keep it fresh. The production is spare, but that works in this one's favor. Would be curious to see what a different mix master could do with it. Not a barnburner, but gentle and funky.

Mariah Carey: Touch My Body *
What voice? It's cracked and dried and can barely sustain itself for an eight count. Breathy and lifeless. At least she can tick out a lot of syllables quickly, even if they are the same four notes over and over. This doesn't break any new ground, nor do the mixes (?)(more like edits) here. Mariah has become the vocal equivalent of a blow-up sex doll. I guess Island is just all too happy to prop her up, supply her with a cliche' of tired beats and watch the cash roll in.

Ralph Falcon: Break You *
What year is it? 1998? This would have been considered not so fresh even then. None of the mixes seem to elevate this one to anything but filler status. I agree with some of the other reviewers... I just don't get it. It's not even novel enough to qualify as dishy retro. Kind of a snoozer.