Tim: Well, Tom? What good is love? I ask because Paul Rey off Sweden seems quite keen to find out.
Tom: That is the best chorus I’ve heard in a while. A long while. Normally I would be complaining that there’s nothing else in the song – because there isn’t – but that chorus is so good I don’t care. I couldn’t just remember it afterwards: I was singing along before the song ended.
Tim: It is indeed wonderful, but I have a question: are there rules about when you can use massive choirs? Because part of me thinks there should be, that you ought to somehow earn them and build to them rather than just plonking them in midway through the song with a “let’s liven this up” attitude. Now don’t get me wrong, I like it here, but I’m not sure it should be there right from the first chorus.
Tom: It totally should, because otherwise — huh, yeah, I see where you’re going with this.
Tim: Right? It works, yes, but then it’s got nowhere really to go, or build to. I can’t help wondering if I might prefer it if, say, that first chorus was just him, the second chorus introduced the backing males on his “what good is love when it’s over”, and then the choir crusaded in triumphantly out of the middle eight.
Having said that, of course, if that was the cut we’d got, I might be arguing for the exact opposite right now, and that it should be there from the start. I’d like to try it, though.
Tom: Some songs are growers. The catch with just listening to tracks one or two times before talking about them here is that we don’t know if that’s the case – but in this case it’s the opposite problem.
Tim: Like, a shrinker?
Tom: This is an absolutely brilliant track on first listen, but will I get bored of it, and start to hate that incredibly catchy chorus? Ask me again in a week; in the meantime, this is on my playlist.