Although Cheryl’s made it a tad hard for drive-by Googlers here…
[Video][Website]
[4.50]
Edward Okulicz: Now why is there no co-credit for producer Calvin Harris on this? Ah, of course, even Harris isn’t shameless enough to want credit for offering a half-finished 90s Eurodance tribute, and then surgically retrofitting all his favourite presets of “We Found Love” on top of it in an attempt to modernise it. Not bad by any stretch, but beyond the almost yearning verses, this half-song really would have sounded better with some banging house piano on it.
[5]
Brad Shoup: We’ve been put on notice for our Harris-bashing, so it’s nice to note the contrast he’s tossed alongside the plastic synth riffs. Hopefully that high-disco guitar groove gets stripped for a funkier remix.
[6]
Jonathan Bogart: There are some nice contrapuntal loops underneath the bosh. But the bosh is all too generic for them to matter.
[5]
Iain Mew: Some of the bright and perky synth work here makes clear that Calvin Harris is operating in a sonic sphere closer to Yasutaka Nakata than anyone else in Western pop at the moment. It gives me slight pause as to why nothing since the atypical “Bounce” has done anything like as much for me as Perfume and co. The answer being that Harris’ productions are so much flatter and simpler, less intricately constructed melody and more bludgeoning repetition.
[4]
Anthony Easton: I was never a huge fan of Cheryl Cole, and this doesn’t really change my mind.
[4]
Katherine St Asaph: Cheryl Double-Not-Tweedy just beat Enigma in the Danciest Video To Reference The Marquis De Sade runnings. That’s more interesting than anything in the song.
[3]