x Written by Miranda Cooper, Brian Higgins, Carla Marie William, Tim Powell, Nick Coler and Moguai.
Produced by Brian Higgins and Xenomania.
Keyboards and Programming: Tim Powell, Brian Higgins, Toby Scott, Michael "Jaxon" Bellina, Phil Fuldner and Andre Tegelen.
Guitar: Nick Coler.
Mixed by Tim Powell and Brian Higgins.
Mastering engineer: Dick Beetham for 360 Mastering
Published by Warner Chappell/Xenomania

x The chorus uses a guitar riff lifted from Moguai's "Freaks".

REVIEWS:
x Some songs are so viscerally thrilling that they make everything around them just...perfect-it's like an aural contact high. "Fling" (...) is one of those songs: It is pop 2007, from its magnificently fuzzed-up bass bridge to its cheeky lyrics: "It's just a fling, baby, fling, baby, nothing more than a fling, just a bit of ding-a-ling, baby, bling, don't want relationships so swing, baby, swing".
Walking around listening to "Fling" is like when The Wizard of Oz turns to Technicolor. Suddenly everything is sharp, vibrant, and you are the coolest person in the universe.
Here it is. Now the weekend can begin. Actually, make that the rest of our lives. Elisabeth Vincentelli

x Where 'Biology' made aloof standoffish comments, the opening salvo of tracks from 'Tangled Up' made Girls Aloud's intentions clearer than ever before: men's only purpose is to be fucked. 'Sexy?No!No!No!' basically said 'Hey, one night stands are AWESOME!', 'Call The Shots' was a weird submissive/kiss-off, and the rest of 'Tangled Up' is basically an advert for casual carnal activity. 'Fling' is where they underline everything that's said elsewhere on the album, with ridiculously bombastic production. Roo

x (...) the utterly barmy futuristic techno-rock hybrid of Fling (...) sounds like Gwen Stefani would had she grown up in Manchester and survived on a diet of fags, Red Bull and vodka. [It] is also notable for mentioning "a bit of ding-a-ling", 35 years after Chuck Berry upset the moral majority. John Murphy

x Fling - on which a Girl Aloud divertingly announces her Chuck Berry-esque desire for "a bit of ding-a-ling" - offers a kind of nuclear-powered punk-funk that leaves virtually every NME-sponsored early 80s revivalist looking hopelessly pallid. Alexis Petridis

x 'Fling' is sort of like 'Wake Me Up' from the year 2012. Popjustice

x (...) for the pissed-up girls roaming city streets coatless and shag-hungry on a Saturday night, there is 'Fling' - a rock-riffed call-to-arms which features the righteously squawked chorus, 'It's just a fling baby, a bit of ding-a-ling baby, bling baby'. Time Out London

x The last Girls Aloud album, Chemistry, came with an excellent bonus disc of Christmas songs (...) stuffed with goodwill and mild naughtiness of the "pull a cracker" variety. They felt, somehow, like the most English things the Girls had ever done, at least until "Fling", from the new record. "Just a fling baby, fling baby - ding-a-ling baby!" - on paper these lyrics make you cringe but they're sung with music hall relish: this is one of the band's spiciest and strongest vocal performances, a brilliant predatory holler. The theme - inasmuch as you can pin Miranda Cooper lyrics down to a theme - is casual pick-ups, and the simple joy of the record is how it keeps shifting gears from generic Ritzy's disco to a turbocharged new-wave mosh, catching you unawares with the aggression as the Girls spot a catch and pile onto the metaphorical dancefloor. (...) this is an awesome combination of seaside postcard brassiness and binge-drink-Britain shamelessness. Tom Ewing

(...) Miranda Cooper's lyrics are sometimes hard to fathom but it seems to be a song that turns the tabloid/cultural victims, pretty girls who go to nightclubs to hook footballers, into cultural agents. Which is a pompous way of saying that once again Girls Aloud are voices of new social groups.
Musically it's probably not Xenomania's most original production. The overdriven synth-guitars under the Big Beat has been a staple of most of the singles this year (including the stunning cover of "I Think We're Alone Now" where it does it a little better). The music hall qualities of the singing work well and mostly the Girls carry it off. I think their vocal control of the style lapses a little semi-spoken rhymed couplets, especially "strip me of my modesty" where it sound like the singer's trying too hard (...); though not on the chorus where their kind of vocal flatness sound wonderfully... implacable. Monitor