GIRLS ALOUD | Whole Lotta History | |
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LYRICS:
I can't talk, I've got the wrong way Looking up what's falling down, yeah I can't talk I've gone back the wrong way What is the use in what I say? I hear myself complain So I can do it again, do it again I give myself the blame so I get back up again Get out of the rain Baby, I miss you, so tell me Is she really that beautiful? Woah Each time she's kissed you, tell me Is it that really that good for you? Does she love you like I never could? Hold you tender tell you everything's good? Would she hurt you? Cos I never could Does she hold your body tight all night baby? I'm talking bout a whole lotta history I can't find a way to show What you mean to me I've fallen all around when you miss me, I don't know what to do so tell me baby Hello, did you call me? I thought it didn't matter that you're gone And I know, end of story Now there's nothing but a shadow Where my heart shone I'm damned if I do and I'm damned if I don't But you cost me so much love, yeah So finally I just decided to go I know I've had enough So tell me that you're not alone I'm talking bout a whole lotta history I can't find a way to show What you mean to me I've fallen all around when you miss me, I don't know what to do so tell me baby And it keeps me spinning And controls what happens 'til Monday And it might sound crazy But your voice still leaves me all funky And it keeps me spinning And controls what happens 'til Monday
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INFORMATION:
Available on:
Credits:
Single information:
Notes:
The single version of "Whole Lotta History" was entitled the Original Ash Howes Mix. It differs slightly from the album version found on Chemistry, having different percussion, a more pronounced guitar, and faint strings during the chorus.
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Ballads - not our favourite thing in the world of pop, we have to
confess, especially coming from a group who can do so much better when they
shift into uptempo gear. Perhaps it's a showcase for Nadine's impressive vocals
(she carries the song almost entirely by herself) but personally we'd have
preferred to see the excellent Models or Waiting released as the next single.
Still, as ballads go, the heartbroken Whole Lotta History is one of the Girls'
better efforts - not quite as saccharine as I'll Stand By You and a good deal
more engaging than the turgid See The Day. Virgin.net
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(...)Whole Lotta History is an odd choice to be released, not least
because it follows hard on the heels of another ballad - the rather
uninspiring Christmas single, See The Day.
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"Whole Lotta History" ostensibly sounds like an offcut from Grease, but it is "See The Day"'s emotional twin, and the Grease analogy is hardly a put-down; think of Olivia's quiet prayer (Abba writing for Connie Francis in 1958?) of "Hopelessly Devoted To You" amid all the hurly-burly boys' stuff ("Greased Lightning" et al). Except that in the '70s no one could have conceived the solemn Massive Attack string intro, itself in danger of becoming the cliche of musical cliches - but it's instructive to compare the strangely timeless staccato 6/8 over 4/4 (it's the same beat as schaffel, actually) with what Cameron McVey achieves from the same starting point with the Sugababes' "Two Hearts." Though the latter is by some distance the greater song, the importance of "Whole Lotta History" lies in its representation of the Girl's turning point, her recognition that sex is thrilling for 15 minutes, but that something more substantial is needed in the long term. The musings are distended. "I give myself the blame." "Does she love you like I never could? Would she hurt you, 'cos I never would?" (and it is urgently important to interpret that last line in both ways, if we're talking about sex). "I'm falling all around (? With joy?) when you miss me," the Girl continues. "So tell me that you’re not alone." This is distinctly creepy stuff indeed, in the neighbourhood of Elvis Costello's paean to frustrated S&M "I Want You." A louder and angrier Girl briefly breaks the ice - "I'm damned if I do and I'm damned if I don't!" she roars. "But you cost me so much love" - before the stark confession (on a deserted dancefloor?) of "And it keeps me spinning and controls what happens 'til Monday/And it might sound crazy but your voice still leaves (and that satiated purr returns again as "still leaves" is extended over four bars at 3:26-3:27) me all funky."
Marcello Carlin
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