GIRLS ALOUD | Whole Lotta History


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


Available on:
x Girls Aloud - Chemistry (2005) CD
x Girls Aloud - Whole Lotta History (2006) CD-S

Written by Miranda Cooper, Brian Higgins, Tim "Rolf" Larcombe, Lisa Cowling, Giselle Sommerville and Xenomania.
Published by Xenomania/ Warner Chappell Music Ltd.
Produced by Brian Higgins and Xenomania.
Mixed by Tim Powell and Brian Higgins.
Keyboards and Programming: Tim "Rolf" Larcombe, Tim Powell and Brian Higgins.
Guitars: Tim "Rolf" Larcombe, Shawn Lee, Nick Coler.

Single information:
"Whole Lotta History" is the fourth single from Chemistry and was released in March 13th 2006.
Peak position: #6 (UK singles chart)

Despite sounding more traditional than most Girls Aloud songs, "Whole Lotta History" is made up of seven different parts rather than following a verse-chorus formula.

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.

x (...) just listen to this one again when you're madly infatuated - heart, soul, body, you know, the forever thing, even if just for now - and tell me that there's not a little part inside of you that sounds like Nicola Roberts going completely to pieces. Tell me there's not an inner Nadine Coyle trying to explain the situation with clear-eyed earnestness barely masking the plaintiveness of your inner cry: please, come back. Mostly, there must be a bit of Sarah Harding, resigned completely to her fate of being affected emotionally by someone without having the same affect back and then going back to life on the weekdays and trying to forget about it. You can feel it in the words, the doo-woppy girl group pastiche of the backing that just sounds like doomed love, or you can listen to it as just a felt, passionate Girls Aloud slow one. Either way, "Whole Lotta History" is more than just a fourth single, it's Girls Aloud's first believable chink of human frailty. Edward Oculicz

x 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.

x (...)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.
Yet, for a Girls Aloud ballad, this is pretty great. They obviously do the upbeat perfect pop better, but this is probably the best lovelorn pop song since All Saints' Never Ever. There's a terrific string arrangement, the chorus is made to be sung along to, and the girls' vocals even sound pretty good - usually the weakest part of the Girls Aloud package.
So everyone's favourite guilty pleasures go from strength to strength - although it would be nice to hear the utterly barmy Wild Horses grace the singles chart before the next album's planned. John Murphy

x "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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