Little Boots - Hands

Released: March 2, 2010

Purchased: October 2010 from Amazon.com

First Thoughts: I would have sworn this was from 2009. It has the sound of 2009 all over it. Luckily, 2009-2010 was one of my absolute favorite times in British music. (La Roux! Ellie Goulding! The return of Sophie Ellis-Bextor!) I always associate this album with my first year of college, especially Remedy, which I distinctly remember having stuck in my head one day in my Brit Lit class.

Playthrough:

New in Town - One of the most poppy songs on the album. I totally understand why it made its way onto a couple of soundtracks: it sounds like that's what it was meant for. Vicky's vocals are not very good at times, to the point that it makes it a little hard to listen to, but she compensates for it with great production.

Earthquake - My favorite at the time, and a worthy single choice even though it was destined to flop. It's the epitome of wonky pop, which is really what Vicky does best. Plus, it indirectly gave us this iconic Twitter exchange.

Stuck on Repeat - This is a surprisingly generic club track, but it has a great hook.

Click - This is where we really get a taste of how most of the album sounds. It's poppy, slightly atmospheric, and a little gritty.

Remedy - Yes slay me quen. Vicky's poppiest song to date. She wrote and produced it with RedOne, at the time newly famous from producing Just Dance and Poker Face. It does have a bit of the "RedOne on autopilot" thing, but it sounds like older, A*Teens-era RedOne, before he stopped trying and just started writing/producing Poker Face over and over. Her vocals are also pretty good on this one - not as good as on Nocturnes, but better than on the first four tracks. Her voice takes on a lovely sweet quality that works really well with the song. And yeah, lyrically it is Just Dance 2.0, but it manages to sound a little deeper, or at least like they tried harder.

Meddle - My absolute least favorite on the album. It's mostly just noise - it sounds like Vicky was trying to be ~artistic~ at the expense of pleasant production and melody. Which is a shame, because the hook is great.

Ghost - I think she was going for something ethereal and a little creepy, but it ended up cutesy. It's really cute, actually, which is a little strange given the lyrics about a distant partner. It's enjoyable when I'm in the mood for it, but I wasn't tonight, so I had to skip it.

Mathematics - A very typical Little Boots song, a pop melody overlaid with a lot of 2010 wonky-pop trickery. Not her best effort, and pretty fillery, but interesting if nothing else. (Interesting filler, now there's a concept.)

Symmetry - I gather this isn't popular among her fans, but I have no idea why. It's a joy! It features Phil Oakey from The Human League (one of Vicky's major influences) as her duet partner, which is great, though since his voice is so much more powerful and distinctive than Vicky's (and better controlled), she ends up seeming like the featured artist on her own song.

Tune Into My Heart - You could call this filler too, but I've always loved it. It's another more bubblegummy moment on the album. Has Vicky's stamp all over it: unusual analogy for a loving but troubled relationship. No wonder I love it, when I put it like that. It actually would have been a very good choice for a single, probably better than Earthquake. It's not at all representative of the album, but it would have appealed to a wider audience.

Hearts Collide - I barely remember how this went aside from "baaaby, when our hearts collide," but it's nice. I didn't feel the need to skip it like Meddle, Ghost, and Mathematics.

No Brakes - This is really pretty. Very similar to what she'd do on Nocturnes: a midtempo that somehow sounds like a ballad. The big downfall, again, is her voice. A stronger vocalist could carry the chorus much better and make the song even more appealing.

Hands - I think this is the first time I've ever listened to this all the way through, largely because it's a hidden track and I didn't feel like fast-forwarding through the silence after No Brakes, but partly because it's pretty shit. It's obviously Vicky's attempt at aping Kate Bush, from the vocal style to the piano accompaniment, and even evident in the songwriting. But vocal tricks that are merely annoying from Kate are downright screechy with Vicky, and the lyrics hold promise but sound totally half-assed.

Final verdict: As you can probably tell, the absolute biggest problem with this album is Vicky's voice. She sounds fine (though still not great) on Nocturnes, but I had honestly forgotten how bad she sounded here. But honestly, that's a testament to how good the songs are, at least for the most part. It's a shame that Elektra was so wrapped up in presenting her as the British Lady Gaga - although it gave us some great stuff like Remedy, I think ultimately it cramped her creativity and led to the songs not being as well developed as they could have been. Then again, it seems to be what pulled her away from the total left-field thing heard on Meddle, so we should probably be thankful for it. As long as you can do with the shaky vocals, this is a tremendously solid album that's unjustly overlooked and even maligned. 8.5/10.

Highlight: I'm gonna have to go with Remedy. It's an obvious choice, and not the most truly Little Boots, but it is definitely the best thing here.

Afterschool - Flashback

Released: June 20, 2012

Purchased: Hahaha. Acquired just under a month ago.

First Thoughts: This was the first K-pop thing I ever downloaded. The kind of sad thing is I think it's actually better than The Best of Afterschool.

Playthrough:

Rip Off - Very generic club banger. Perfectly acceptable, but nothing I'd go out of my way to listen to.

Flashback - Their most popular song, and understandably so. It's still a little generic, but it has the fantastic "b-b-b-boy I miss you" hook. Sounds a lot like Girls Aloud's On the Metro and Every Now and Then. And I'm always a slut for dubstep breakdowns.

Eyeline (Nana solo) - Sounds like a Dannii song. Like Rip Off, not something I'll probably ever seek out, but very enjoyable while it's playing.

Sonmoksigye (English: Wristwatch) - This is absolutely gorgeous. I have no idea which ones are singing lead on this, but they do a beautiful job with their lovely, smooth voices (Gloria Estefan teas). Beautiful melody too. I can imagine it as the closing song of a Princess Diaries-type teen romcom.

Timeless (JungA/Raina duet) - This reminds me of something, but I'm not quite sure what. It's more MOR than the rest of the EP, but that's not a bad thing at all. It's a nice midtempo that shows their flexibility.

Final verdict: It doesn't have anything in particular that no other album has, but it made for a very nice introduction to the group. I like it better than 90% of the K-pop I've heard. 7.5/10.

Highlight: This slice of beauty.

Myra - Myra

Released: 2001

Purchased: My dad got a free promo copy since he wrote for the All Music Guide. Well, by this time he didn't anymore, but Disney apparently hadn't realized it.

First Thoughts: God, I love this album so fucking much. It was the album of my fourth to sixth grade years, even more than Teen Spirit. Actually, I knew the Spanish version, Milagros, a little better, because I lost my copy of the English version for several months. I am soooo looking forward to revisiting it. Let's get started...

Playthrough:

Lie, Lie, Lie - This doesn't sound exactly like your typical The Matrix song, but I'm not complaining. This was one of my very favorites. It's more urban-sounding, for lack of a better term, than the rest of the album. The middle 8 is especially incredible, especially that "I wanted youuuuuuu" at the very end. The accompanying key change absolutely made my nine-year-old life, even though I was years away from even knowing what the fuck a key change was. I preferred the Spanish version, as I did with, uh, almost all of the songs, and I still do, but the English version is still a 10.

Candy Boy - Faintly ridiculous lyrics about a candy metaphor, which got even worse in translation to Spanish, when they just became generic lyrics about "mi bailador" (my dancer)... I guess you could call it filler, but it's a total sugar high, to steal one of its lyrics.

Like a Girl in Love - Not as exciting as most of the album, but that minor key is a great touch, and the acoustic guitar at the beginning is one of the album's most remarkable moments. I imagine this is/was a favorite for a lot of people, just not me.

Miracles Happen (When You Believe) - Myra's one and only hit ("hit"), which so many people from my generation rightly remember fondly from its usage in The Princess Diaries. I listened to this on repeat for fucking EVER at the time, to the point that my dad complained about it just as incessantly. Five minutes seems incredibly long for a pop song to me now, but it doesn't seem long at all. By the way, it was written by two incredible pop songwriters: Eliot Kennedy (who's worked with Dannii, Atomic Kitten, the Spice Girls, S Club 7, and Céline ... but most importantly Billie Piper on Day & Night and Something Deep Inside) and Pam Sheyne (who's done stuff for Xtina, The Sats, M2M, Point of Grace, and God knows who else, and was the vocalist behind Rochelle on Almighty Records). It deserves every bit of praise it's ever gotten. The only pity is that the dancier "Miracle Mix," used for Myra's cameo on Port Charles, was never released except on an incredibly rare promo CD single.

Bye-Bye My Love - By no means bad, but a definite dip in quality. Christina-lite. I liked it at the time; I usually skip it now, just to get to the incredible next track.

25 Hours a Day - Sure, the lyrics are ridiculous, and it sounds totally out of place on the album. It's a breezy, Please Yourself-era Bananarama / Hold Me, Thrill Me, Kiss Me-era Gloria Estefan type song. Luckily, that's the exact kind of song I have a soft spot for if it's produced well - and this is produced incredibly well. Again, the Spanish version far exceeds the English version, but it's comparing a 9.5 to a 10.

Wishing on the Same Star - Ugh, fuck off, Diane Warren. The requisite ballad. It's a really pretty song, but the production leaves so much to be desired. I had no interest in hearing Myra do something like this when I was nine, and I'm not that much more interested now.

Dancing in the Street - Ah yes, my first encounter with Myra, from the Recess: School's Out soundtrack. Like Miracles Happen, I played it relentlessly, though I eventually tired of it. Better than the vast majority of covers of this classic, and miles better than Atomic Kitten's version, which the UK got instead as a single for the Recess soundtrack. It sounds totally modernized (well, modern to 2001). A really good example of what you can do with a cover.

Where You At? - This is where the album enters its darker section, both lyrically and musically. I mean, it's not dark by any means, it's just not as ebullient as what comes before. Listening to it now, it strikes me that it's an attempt to ape Britney, but honestly it's better than 90% of what Britney shat out on her first three albums. Very cool electronic touches. This one could genuinely have been a single to mainstream radio. It's a bit Stacie Orrico.

Girls Like Boyz - Echh. I almost always used to skip this one (the Spanish version is slightly more bearable, mainly because I can't understand the lyrics as well), and it's the most fillery thing here. Truly, truly vapid lyrics and an uninspired melody. My tendency to wipe this one from my memory explains why I made the "darker section" comment, since it's much more in the vein of Candy Boy than Where You At?

As If - This sounds so much like something I know, but I can't quite put my finger on it. Another old favorite, though it hasn't held up quite as well for me as Lie and Miracle. It's still a great song, though. Mikaila wishes she'd had something like it. Also, maybe the only song on the album where the English version is significantly better than the Spanish version.

Hanging Up on You - Oh my godddddddd. I loved this one so fucking much. That pre-chorus - "Now I'm so onto you... Am I getting through? Guess what I'm gonna do..." - is still incredible, with its little electric guitar riffs underneath it. I still don't understand what the second verse is supposed to mean (her friends were trying to set her up with her nasty ex? Huh?), but this is legitimately the catchiest thing on here. Btw, I always associate it with my mom's comment that she always expected the last line of the chorus to go "So I'm hangin' up... You're dead" (to rhyme with "everything you said") instead of "So I'm hangin' up... Goodbye!" which in fairness is a pretty bad lyric.

Dreams - Okay, the other slowie on the album, which if memory serves was originally going to be the title track (pretty sure I saw an ad in another Disney CD mentioning "her upcoming album Dreams"). Unlike Same Star, though, it's pretty convincing. It actually does a better job of showing off her truly impressive voice despite having less vocal acrobatics. It's very "soft AC radio," but also very "last dance at junior prom." I enjoy it.

Japanese bonus tracks:

Step Into the Light - This was used in a Japanese shampoo commercial, which is random, but it's a worthy addition to the album. More rock and not as electronic as the other songs, which makes it stand out a little (at least they had the grace to stick it on as the first track). I imagine if she'd made it to a second album this would have been the lead US single. Forever bitter she didn't get that second album...

You're the Dream - The theme song for the 2001 Japanese Special Olympics. How random. It's not very good. Obviously a rip on Gloria's Reach, and a totally uninspired one.

Lie, Lie, Lie (Main Stream Mix) - This is great. Makes it into an A+ dance track.

Lie, Lie, Lie (SCHWEITZER Remix) - More trancey/bigroom than the Main Stream Mix, but just as enjoyable and anthemic.

Lie, Lie, Lie (DJ Akim in the 90's Mix) - Not nearly as effective in making it into a freestyle-ish track as the two other mixes are in making it into their respective genres. Still, a bit of a bop.

Final verdict: I mean, this is well and truly one of the milestone albums of my life, so I'm probably not able to be as objective as I'd like. But listening to it now, it still sounds just as fresh and invigorating as when I was younger. There is not a single bad song here - Girls Like Boyz is the worst, and it's still a 6.5/10. Besides, most of the songs are 9+. It literally set the template for the Disney girl albums to come - but it did it way better than any of them have, even including my beloved Metamorphosis and When the Sun Goes Down. In short: fucking incredible. Its total lack of recognition is a mark of the true evils of society. 10/10.

Highlight: YOU SHOWED ME FAITH IS NOT BLIND, I DON'T NEED WINGS TO HELP ME FLY

O, en español:

Avalon - A Maze of Grace

I realize Popjustice isn't exactly the most Contemporary Christian-oriented music forum out there, but upon revisiting this album I felt a need to do a lil write-up.

(How unspeakably bad is that styling on the cover? Oh my...)

Released: Dec. 11, 1997

Purchased: Bit by bit from iTunes when I was in middle school

Playthrough:

Testify to Love - I bet all of them wake up every day thanking the Lord't they got their hands on this, considering what a smash it was (their biggest hit to date, by far). And deservedly so - it's not their most interesting song by any means, but it is a basic BAUXP.

A World Away - I learned this one on piano back when I took lessons. It's kind of fillery, but it's enjoyable. With more effort in the production, it could've been the best thing on the album.

A Maze of Grace - I bet they thought this was so clever. It took me literally years to get the title ("amazing grace" / "a maze of grace"). It's really dated, but I imagine it sounded fantastic at the time. I loved it when I was getting into them. It has a really solid structure and arrangement; it's just the production that's lacking.

Knockin' on Heaven's Door - A banger, though oddly generic. Probably the hookiest thing on the album.

Adonai - My favorite Avaballad, which is saying something considering they've got Can't Live a Day and the superb I Don't Want to Go. Nikki's voice is incredible here. I can understand why she left the group to go solo - she got three leads on this album (this one, A World Away, and The Move), but judging by their next album, I'd bet that by the time she left, Avalon was already becoming "Janna and her backup singers" and she felt underused. To be fair, Janna is technically a far better vocalist than Nikki, or indeed anyone else who's ever been in Avalon, but she doesn't have Nikki's range, nor the gorgeous clear quality of Nikki's voice. Only a shame Nikki's career went down the shitter faster than you can say "a Lisa Scott-Lee tea," and never managed to climb out. Anyway, this song is really gorgeous - that key change is everything.

Speed of Light - Like A Maze of Grace, this had to have been excellent at the time, but it's just so dated that it's hard to hear it as anything but an artifact of its time now. Nonetheless it's still a bop.

The Move - Okay, this really needed a better chorus. "Rising from the ashes is the flame ... THE MOOOOOVE" repeated over and over is so half-assed. That being said, it's a real pop moment, helped again by an awesome performance from Nikki.

Reason Enough - I remembered this as a lot more boring than it is. The soon-to-be-requisite Jannaballad, though it's actually a midtempo. It's a bit Donna Summer melodically, and very Céline Dion production-wise.

Forgive + Forget - Easily the weak link here, but it's still perfectly good. It's just a little try-hard, and the unison vocals on the verses was an odd mistake considering Avalon's strength was always their harmonies.

Dreams I Dream for You - Pretty generic, but it has nice vocals and is a really pleasant listen. Again, could have been something really special if they'd fleshed it out more, but as it stands it's still good.

Final verdict: In every single case, when I've gone back to one of the Christian albums I listened to in middle school, they haven't been nearly as good as I remembered, even the ones I loved most (Avalon's Oxygen, ZOEgirl's Room to Breathe, Rebecca St. James' Transform). So I was pretty much dumbfound when I realized this is actually better than I remembered, and even better than I thought at the time. Their finest album for sure - an incredibly solid pure pop album in the vein of The Corrs or even Carly Rae Jepsen. 9/10.

Highlight: Adonai is really my favorite, but I expect The Move (my second-favorite) is the one that will appeal to PJ the most.

The Corrs - In Blue

Released: July 13, 2000

Purchased: Five or six years ago at Barnes & Noble. Saw it in the budget section and took it over to the listening station because I'd heard Sixpence None the Richer compared to them, and liked what I heard.

Playthrough:

Breathless - I think there's a good argument to be made that this was their artistic peak to date, though it's not my favorite on the album. It's really catchy, and one of their most exoteric moments, but still identifiably Corrs.

Give Me a Reason - This is so of its time, but I love it anyway. It's sort of generic, but a great generic song is still a great song. The Cutfather and Joe remix is a little better than the original mix.

Somebody for Someone - Unusually dark theme for a Corrs song, but it fits well in their aesthetic. It has a great melody, and I adore Sharon's "somebody's gotta make it right" BGVs. She really was criminally underused as a singer - she's by no means as skilled a vocalist as Andrea, but I love her tone.

Say - The first song on the album that doesn't totally do it for me. It's pleasant, but unremarkable. It sounds like a B-side, actually. It just doesn't fit in at this point on the album.

All the Love in the World - Wonderful production and performance that really enhance the melody. It's like The Corrs doing a Céline-type power ballad: Andrea's voice has its weaknesses, and it never quite explodes, but it has a big emotional punch. The only low point is the outro - the remix's outro is way better.

Radio - I know many fans prefer the original MTV Unplugged version, and though I really like that one (and the similar Live in Dublin version), I think I like this one more. It's got the angst of the original, but is a lot catchier - a proto-1989 tea.

Irresistible - I played this one to death and back when I got the album. It is such a summer anthem - breezy, fun, sweet. I'm still miffed it wasn't included on the Dreams comp.

One Night - I've only rarely made it all the way through this. I hesitate to call it noisy since it's so slow and soft, but I don't know what other word to use. It needs a much better melody - a rarity among Corrs songs. Well, at least it doesn't have Alejandro Sanz like the Spanish version (I can't stand his voice).

All in a Day - Pretty basic filler. Nothing wrong with it, but I never seek it out to listen to.

At Your Side - Another remake from the Unplugged session, but unlike Radio, it's very similar to the original, just a little more popped up. It's the most Talk on Corners song on the album, and it's kind of a nice link to their past at a time when they were overhauling their sound.

No More Cry - It's like a Katy Perry song: generic, basic, shoddy lyrics in spots, but effortlessly happy and so fun that it overcomes its flaws.

Rain - Another filler song. It really sounds like it was meant to be a B-side. I'd have liked for this and All in a Day to have been the Breathless B-sides in place of Head in the Air and Judy (neither of which needed to ever be released), with their places taken by the spectacular Make You Mine (instead of sentencing it to best-of album track) and Looking in the Eyes of Love from the bonus disc. That being said, it's perfectly fine. The syncopation in the chorus makes it stick in my head (kind of Amy Grant-like), though I don't remember the verses at all. But I don't understand why it's called Rain...

Give It All Up - The best Ace of Base imitation this side of Alejandro. The downside is that, unlike Alejandro, it hasn't really been integrated into the act's sound, so it sticks out on the album like Madonna on Instagram, and just comes off as an attempt to ape Ace of Base, with oddly processed vocals. Nonetheless: amazing.

Hurt Before - I took a long time to come around to this; it wasn't until the lyrics took on meaning for me that I started to really like it. It's nice, and Andrea's vocals are pretty good, but it does drag on a bit.

Rebel Heart - I spent some time as a narcissist... Ahem. This is an instrumental, and I'm not generally here for instrumentals, but it's really good for what it is.

Final verdict: Though it's certainly got its flaws, this is a really strong MOR-pop album, and a good example of how to change your sound and image fairly successfully. The songwriting isn't as strong as on their other albums, but the production is consistently great: they and Mutt Lange were a great match, though it's too bad there wasn't a David Foster song or two in there. With a little trimming and reworking (as described above), it's a really solid pop album, and it is a great introduction to the band. 7/10.

Highlight: I could easily go with Breathless, Irresistible, Give Me a Reason, or All in the Love in the World, but I'll toss the honor to my favorite album track.

Ace of Base - Da Capo

(the Japanese version!)

Released: September 2003

Purchased: Six or seven years ago on eBay.

Playthrough:

Unspeakable - I loved this and played the crap out of it when I bought it on iTunes as I was going through my Ace of Base phase in ninth or tenth grade. (I got the album in tenth or eleventh.) I remember specifically loving the "it's all so clear ... tooo ... meeeeee! ALLLLLLL!" bit and the key change. Now I don't really care for it, which is sad because I want to go back to being able to hear it as one of the greatest songs ever.

Beautiful Morning - Kind of obviously the "fuck, we need a viable single" track, but still extremely good. I've always loved the video too - beautifully filmed.

Remember the Words - It's appropriate my last review was of Hilary, because this is a very 2003 Disney-type track. The lyrics are meant well but sort of hopelessly basic ("remember the words, you are never on your own, out here alone"), and it mimics that The Matrix / Alain Bertoni production style perfectly. Would have fit in on Christy Carlson Romano's "album" or any early-'00s Disney soundtrack without anyone batting an eye.

Da Capo - Among their most dancey songs. It's a very good, catchy song - sort of like Kesha with less auto-tune - but the lyrics have always bothered me. It's like they took two different songs, one about being in love with someone who can't tell ("I'm telling you I am your friend / But you can't hear me in your dreams") and one about a relationship based purely on sex ("I'm your everlasting property"), and combined them without a further thought.

World Down Under - Another Matrix-type song. It's not as good as Morning or Da Capo, but it's more than serviceable, and among the more Ace of Base-ish songs on the album. The lyric "I believe in there's a world down under" has always bothered me though, because "I believe there's a world down under" or "I believe in a world down under" would have made perfect sense, but combining them doesn't.

Ordinary Day - This is my big discovery from replaying the album. I've never paid much attention to it before, but I'm loving it right now. Unless I'm very much mistaken, it's the only song Linn sings lead on. Though I love Jenny, I think Linn is marginally the better vocalist, and this is a pretty good showcase of her vocal abilities. It's a little bland, but it works for me. It's basically Don't Go Away 2.0 (and that's another one that only clicked with me fairly recently).

Wonderful Life - Of all the versions of this song I know (Kim Wilde, Tina Cousins, Lara Fabian), this is probably my favorite. It's far more upbeat and bright and shiny than the original or the other covers. It's also pretty much the only thing on the album that sounds like it could have been on Happy Nation, despite the group's explanation of the album title as meaning that they'd gone back to that sound. Then again, Happy Nation is by far my least favorite of their albums (not counting the dot group's album), so whatever.

Show Me Love - This was my favorite for a long time, and may still be. It takes the smooth sound of Flowers and runs with it. It's identifiably Ace of Base, but it could easily have been played on AC radio. Pity it wasn't a single.

What's the Name of the Game - Filler. They obviously try harkening back to the Living in Danger-type synth lines under the chorus, but it doesn't really work. It's not a BAD song, but it's obviously not as good as anything else on the album, or on Flowers for that matter.

Change with the Light - I was obsessed with this one too. It sounds exactly nothing like Ace of Base, but it's great, and they deliver it better than I can imagine anyone else doing. Jenny's and Ulf's voices are a perfect fit for the song, and it's exquisitely played and produced.

Hey Darling - I think this is one of the fan favorites. It's perfectly nice, but a little boring compared to most of the album.

The Juvenile - This would have been great as a Bond theme, shame that rat bastard Clive Davis yanked them from the project. That being said, outside of the Bond context it was a laughable choice as a single (especially a lead single, for God's sake...). I really love it - it actually has kind of a Tori sound to it, but darker - and I think it has great lyrics, but I absolutely cannot imagine hearing it on the radio.

Don't Stop - Basic bop done right. Sounds like it came off The Lizzie McGuire Movie soundtrack, which isn't a bad thing. It doesn't shine as well as most of the main album, though.

Summer Days - All I can think is that it sounds like a demo. An almost-finished demo to be fair, but still, a demo. I've struggled to understand the lyrics for years, but I think I've finally got it, and it's about realizing you're in love with an old friend you're out of contact with. It sounds appropriately beachy, and for the most part the lyrics are fine; I just wish they'd polished it up a bit.

Beautiful Morning (Groove Radio Edit) - Nice idea but poorly done. Should've been replaced with the Junk&Function/M12 mix of Unspeakable, which is about 1000 times better.

Final verdict: If you've noticed all the references to Disney above, well, that's deliberate. I kept thinking as I played the album that it really, really sounds like AOB trying to ape the Disney sound perfected on albums like Myra's debut and the Princess Diaries soundtrack, often at the expense of their own sound. Luckily for them, I happen to love that sound. The songs themselves are at about their usual level, maybe a little lower than Flowers. This is probably my favorite of their albums, though I understand why the Happy Nation crowd didn't like it. 9/10.

Highlight: Show Me Love