TRACK 1 - FAVORITE KIND


Title: Favorite Kind
Artist(s): Reese Hollinsworth
Release date: November 10, 2014 (as promotional single); December 1, 2014 (as single)
Recorded: September 2014; Wishing Well Studios, New York City, United States
Genre(s): Eurodance, dance-pop
Length: 4:14
Record label: Independently released
Writer(s): Reese Hollinsworth
Producer(s): Kuk Harrell, Stargate, Sandy Vee

This song was premiered on October 26, 2014 at the 2014 Fall Festival.
The song was officially released as the album's first promotional single to US airplay on November 10, 2014.
The song was additionally released to digital and streaming outlets as the official second single of Love? on December 1, 2014.

'Favorite Kind' is a song recorded by Vietnamese-American recording artist Reese Hollinsworth from his debut studio album, Love? (2014). Hollinsworth wrote this song single-handedly with production handled by Norwegian production team Stargate (which consists of Mikkel Storleer Eriksen and Tor Erik Hermansen) and Sandy Wilhelm (under his stage name Sandy Vee). Vocal production for the song was handled by Kuk Harrell. The song was first premiered on the final day of the 2014 Fall Festival, where he played a set promoting for the album. Backed by a 'heavy' use of bass and synthesizers, 'Favorite Kind' is an uptempo Eurodance and dance-pop track. The lyrics depict the protagonist boasting a significant other or a subject of sexual interest, repeatedly affirming that the person is their 'favorite kind.'

'Favorite Kind' is an uptempo song of Eurodance and dance-pop genres. Writing credits for this song go solely to Reese Hollinsworth, while production credits go to Kuk Harrell along with Stargate, Sandy Vee, the former handling vocal production and the latter two handling musical production. It features "heavy whipping bass" and the strong use of synths, while the chorus of the song incorporates a "strobing, dance club beat". The song is written in common time with a moderate tempo of 126 beats per minute. It was composed in the key of F-sharp minor, with Hollinsworth's vocal range in the spanning from the low note of F♯3 to the high note of C♯5. The lyrics feature Hollinsworth singing about and/or to a significant other or a subject of sexual interest, boasting them, saying that they're his 'favorite kind,' singing, "'Cause you're my favorite kind, got me losing control every night / The type that shoves me into overdrive, makes me high and satisfied in every right / You're my favorite kind". Brad Wete, a reviewer for The Music Mix of Entertainment Weekly, described Hollinsworth's vocals as 'seductive while holding a distinct edge of romantic longing as well, showing that the attraction is not only physical but emotional as well.'

Upon premiere, 'Favorite Kind' was well-received by critics. Bill Lamb of About.com gave the song a positive review giving it four and a half out of five stars. Lamb complimented the song for its 'towering chorus' and 'club ready dance beats'. Gerrick D. Kennedy of the Los Angeles Times stated that 'Although we can't necessarily say Hollinsworth is back, since he was always present in the industry—he is making a comeback of sorts.' He concluded that 'With its club ready bassline and Euro-pop influences, not to mention one heck of an epic chorus, the track is a surefire hit.' Monica Herrera of Billboard complimented the production of the song, writing that, '[the song] aims squarely for dancefloor domination, as the newcomer [...] pours his heart out to a person [...] over a full-throttle production by Norwegian hitmaking duo, Stargate.' James Dinh of MTV News praised the lyrics of the song, stating that he 'did not expect such catchy lyrics to come out from Hollinsworth, who I suppose has just started considering songwriting a weapon for total industry dominance. With a chorus that not only is catchy but also makes sense [...], we might have a writing prodigy at our hands.' Dinh went on to say, "On the high-energy track, Hollinsworth boasts his lover, repeatedly assuring them that they are of his 'favorite kind' over a pulsing electro beat. The singer's voice remains silky on the verses, then bursts out on the song's monstrous chorus." Nick Levine of Digital Spy awarded the song four stars out of five, saying that the song might be Hollinsworth's 'purest pop attempt, based on what we've seen of him so far.'

During its first week of airplay availability, the single debuted at number 16 on the Hot Radio Songs chart in the week ending November 16, 2014 as it received moderate support from urban and pop radio. With 'Favorite Kind''s entry on the chart, Hollinsworth stands as the only artist on the chart that week to have more than one single in the top 20, a feat never before achieved in the history of the chart. The following week, the single dropped to number 19 on airplay. The song is set to be additionally released to digital and streaming outlets as the official second single off the album, following relatively pale airplay support from 'Numb' and 'Little Bit of My Heart'.

After having been released as a single, 'Favorite Kind' made a gigantic leap from number 19 to number 13 on the Hot Radio Songs chart whilst scanning 205,000 downloads in its first week of digital availability with a debut at number 16. The song succeeds in becoming Hollinsworth's second-highest-charting single on Digital, yet was not successful in doing so on Airplay, only becoming third highest due to 'Little Bit of My Heart''s surprising debut at number 12 in the same week.

---

LYRICS

I want you to know me, what makes me feel right
And I want to know you, just tell me what you like
Babe, just forget about the world, 'cause all I need is you tonight
And if you like what you see, then I'm gon' make you feel right, oh

'Cause you're my favorite kind, got me losing control every night
The type that shoves me into overdrive, makes me high and satisfied in every right
You're my favorite kind
The only body you should be scoring is mine, 'cause them other girls got nothing on my grind
I can take you on a rollercoaster ride, yeah
Want you to make me feel like I'm the only girl you'll ever love
Like I'm the reason why you open your heart
Like I'm the only one who knows who you are
Favorite kind

Want you to love me in the dark of the night
Hold me like a pillow, never let me go
With you, I feel like burning with the most passionate flames ever felt inside
And I'm gon' tell you, bad boy, that it's my heart that you've already owned, oh

'Cause you're my favorite kind, got me losing control every night
The type that shoves me into overdrive, makes me high and satisfied in every right
You're my favorite kind
The only body you should be scoring is mine, 'cause them other girls got nothing on my grind
I can take you on a rollercoaster ride, yeah
Want you to make me feel like I'm the only girl you'll ever love
Like I'm the reason why you open your heart
Like I'm the only one who knows what you are
Favorite kind

You make me feel so right, let’s take it, make it higher
Make me lose all control tonight, just get me feeling so high every night
You make me feel so right, let’s take it, make it higher
Make me lose all control tonight, just get me feeling so high every night

'Cause you're my favorite kind, got me losing control every night
The type that shoves me into overdrive, makes me high and satisfied in every right
You're my favorite kind
Want you to make me feel like I'm the only girl that you'll ever love
Like I'm the reason why you open your heart
Like I'm the only one who understands

You’re my favorite kind
Favorite kind
You’re my favorite kind
Favorite kind

---

Sounds Like:

TRACK 3 - NUMBER ONE GIRL


Title: Number One Girl
Artist(s): Reese Hollinsworth
Recorded: July 2014; Wishing Well Studios, New York City, United States
Genre(s): Pop
Length: 4:22
Writer(s): Reese Hollinsworth, Savan Kotecha, Max Martin, Ilya Salmanzadeh
Producer(s): Peter Carlsson, Ilya, Max Martin

The song was premiered on September 12, 2014 at his appearance on the Today Show.

'Number One Girl' is a song recorded by Vietnamese-American recording artist Reese Hollinsworth for his debut studio album, Love? (2014). It was written by Reese Hollinsworth, Max Martin, Savan Kotecha and Ilya Salmanzadeh, and produced by Martin and Ilya. Vocal production was handled by Martin, Peter Carlsson, and Ilya. Musically, the song is a pop/R&B track mixed with a electropop beat, which goes on for a duration of four minutes and twenty-two seconds. The lyrics break from the theme of boasting the lover and goes to proving oneself, with Hollinsworth now starring a female character, saying that he will be the lover's 'number one girl.'

'Number One Girl' is an uptempo pop/R&B song that mixes an electropop beat with 'hard-hitting percussion' and 'big drums.' The song runs for a duration of four minutes and twenty-two seconds. Most critics compared the song to Jennifer Lopez's early singles, with Ziwei of Spin or Bin Music comparing the song to 1999 and 2001 respective hits 'If You Had My Love' and 'Love Don't Cost a Thing', Mike Wass of Idolator remarking that the song 'even has a splash of 2000 classic 'Waiting for Tonight' about the serotonin-raising chorus.' Jeff Benjamin of Fuse TV found the song reminiscent to Lopez's 2011 song '(What Is) Love?'. Lyrically, the song, instead of complimenting the lover, now is in the theme of proving oneself to a person, with Hollinsworth singing with 'smooth' vocals that he will always be one's 'number one girl.'

The song has received generally positive reviews from critics. Jeff Benjamin of Fuse TV wrote that, 'Hollinsworth successfully straddles the line between pop and hip-hop on this song.' Mike Wass of Idolator agreed, calling it 'an adorable pure-pop explosion that expertly straddles the divide between Hollinsworth’s urban roots and dance moments.' Wass also named it 'irresistible' and wrote that the song 'lifts the bar for high-quality pop even higher with the new song.' Wass also praised its lyrical content, calling it 'a surprisingly mature theme' and named it '(a hugely enjoyable) bubblegum pop song.' Jazz Tangcay of SoSoGay called it 'a pop-centric song and catchy on the first listen.'

Ziwei of Spin or Bin Music wrote the song is 'a very welcomed change' after 'The Death of Me', whose lyrical content he named 'disappointing' compared to the 'marvelous' work Hollinsworth put on with the album opener, 'Favorite Kind'. Amy Davidson from Digital Spy agreed, writing that its lyrics are so convincent that it 'redeems the crowded jumble we heard on "The Death of Me".' Davidson praised the track, calling it 'seductive pop that sits on the right side of Hollinsworth's hip hop influences.' Amaya Mendizabal of Billboard enjoyed its 'fun and free feel,' praising Max Martin for 'liv[ing] up to his legacy, creating a sound reminiscent of past summertime hits.' Jim Farber of New York Daily News praised the song for 'fulfill[ing] its musical mission: being a sweet piece of candy pop', while Glenn Gamboa of Newsday wrote the bouncy track captures "some of the lighthearted dance-pop charm most pop stars ignore today."

---

LYRICS

Hey, baby, you so fine
I know it ‘cause I’ve been lookin’ at you for a while now
Hey, boy, I know you got some skill on ya
‘Cause I can smell a player from ten blocks away
But that’s okay, I ain’t lookin’ for love tonight
I’m just looking for a good time to party tonight
Well, baby, are you ready ‘cause I’m comin’ your way
Get ready to get your mind blown off the roof tonight

‘Cause I’ll forever be your number one girl
And I ain’t never gonna make you forget it (Oh, oh, forget it, oh, oh)
‘Cause I am your number one girl
And ain’t no other bitch can stand in my way (oh, oh, oh, oh)
Well, I’m your number one girl
And I’m gon’ tear down the roof of this place to prove it
So do you believe me now
That you’re staring at your number one girl
Your number one girl, your number one girl

(Your number one girl
Your, your, your, your, your number one girl)

Hey, you know you got that sweet little tang in your mouth
That drives me crazy every single time
Oh, and the taste of your lips every time you kiss me
Taste of vodka and heaven
Baby, you, you got me wrapped around your finger
Just one word, and I’ll go home with you at your beck and call
But enough with the chit-chat, time to get down to business
I’mma give you the show that you came to see
And blow your mind away

‘Cause I’ll forever be your number one girl
And I ain’t never gonna make you forget it (oh, oh, forget it, oh oh)
‘Cause I am your number one girl
And ain’t no other bitch can stand in my way (oh oh oh oh)
Well, I’m your number one girl
And I’m gon’ tear down the roof of this place to prove it (eh eh eh)
So do you believe me now
That you’re staring at your number one girl
Your number one girl, your number one girl

You make me wanna ride again
'Cause I, I wanna hear you say my name
'Cause I
You make me wanna ride again
'Cause I, I I I I
You make me wanna ride again
'Cause I, I wanna hear you say my name
'Cause I
You make me wanna ride again
'Cause I, I I I I

---

Sounds Like:

TRACK 5 - DRUNK


Title: Drunk
Artist(s): Reese Hollinsworth
Release date: October 27, 2014
Recorded: October 2014; Wishing Well Studios, New York City, United States
Genre(s): Trap, rhythm and blues
Length: 4:15
Record label: Independently released
Writer(s): Reese Hollinsworth
Producer(s): Beyoncé, Boots, Detail, Jerome Harmon, Brian Soko, Timbaland

The song was premiered on October 26, 2014 at the 2014 Fall Festival.
The song was released to numerous digital and streaming outlets as well as US airplay as the official lead single of Love? on October 27, 2014.

'Drunk' is a song recorded by Vietnamese-American recording artist Reese Hollinsworth for his debut studio album, Love? (2014). The song was single-handedly written by Hollinsworth while Beyoncé, Boots, Detail, Jerome Harmon, Brian Soko and Timbaland produced the song. The song is dominated by trap beats in chunks and bass. Its lyrics, which include 'explicit sexual content', are sung by Hollinsworth with sensual and confident vocals. The track was independently released at midnight on October 27, 2014 to numerous digital and streaming outlets. Unlike singles from other artists, 'Drunk' lacks a physical counterpart. A music video for the single is in the works, yet no release date has been rumored nor confirmed. Though not much is known about the video, it's been revealed on Vevo's title page that it is directed by world-renowned director Hype Williams.

Musically, the song consists of bass, skittering drums, vague synthesizers, scintillating strings, finger snaps and a substantial amount of trap beats. Elements of hip hop music are also present in 'Drunk'. Written in the key of A♭ major, the track contains a moderately slow tempo of 70 beats per minute, while also following a chord progression of Fm—B♭m—E♭—A♭. Hollinsworth's vocals range from F3 to E♭5. Jody Rosen from Vulture found trademark Timbaland synths in the song and further went on to describe its production as 'skittering, blaring'. Breaking free from the previous 'relatively PG-13' material from previous songs of the album, 'Drunk' features 'explicit sexual content'. Its lyrics express 'unbridled lust' and love-making with a wholly committed lover. The singer displays much attitude through his vocal inflections that were described as "sassy" by critics. His vocal performance in the song was described as conversational, half-sung half-rapped, "talk-over-the-beat" styled further conveying spontaneity and truth-telling. His singing is further ornamented by Arabic-scale vocal arpeggios. Hollinsworth's vocal performance in the song has been noted for containing a flow similar to rappers Drake and 2 Chainz. The Verge'​s Trent Wolbe found Animal Collective-esque vocal filtering.

Music critics generally enjoyed the efforts Hollinsworth and co. put in for 'Drunk'. Rob Sheffield of Rolling Stone chose the 'sex song' as the album's best one so far, commenting that it is a 'superb' track. Andrew Hampp of Billboard called the track a 'potential smash' as he praised its appeal to R&B radio stations and its 'infectious, wailing of 'loooove' on the chorus'. He also commended Hollinsworth's rapped verses. Andrew Barker from Variety wrote in his review "a radio-ready pop single [is] buried somewhere within 'Drunk', yet Beyoncé and Boots embellish it with enough strange grace notes and recitatives to create a much stranger monster than one might expect'. Joey Guerra from the Houston Chronicle stated that Hollinsworth was in 'a fluid swagger' in 'Drunk'.

Jody Rosen writing for Vulture described the song as an 'appealing' record and 'easily' the best song he's ever heard From Hollinsworth. Kitty Empire of The Observer wrote that 'Drunk' finds Hollinsworth 'rapping lasciviously and making eyes at his lover. It's about 100 times better than that description allows for.' Julia Leconte from Now praised the singer's 'perfect' growling vocals. Pitchfork Media's Carrie Battan felt that the lines in which Hollinsworth ad-libbed 'riding on that wood' were 'some of the most infectious snippets of pop music in 2014', elaborating 'the phrase serving as both shorthand for woman-on-top and a neat summation of an entire era of trends in rap cadence'. Greg Kot of the Chicago Tribune described the track as a 'frisky reverie'.

Philip Matusavage of musicOMH noted that though 'Drunk' does not have a chorus, it absolutely manages to be 'thrilling', further writing that it is 'packed with ideas and touches' which listeners would understand after repeated listens. Anupa Mistry of Spin considered the song to be one of Love?'​s 'elbows-up boom-trap anthems... ready to soundtrack both dive-bar antics and bottle-service quasi-sophistication.' Philip Cosores of Paste highlighted that the track was highly evocative but found its lyrics to be 'half-baked at best'.

During its first week of release, 'Drunk' has shown to be moderately commercially successful. In the week ending November 9, 2014, the song debuted at number 8 on the Hot Digital Songs chart with 250,000 downloads, signifying Hollinsworth's best sales week of his career, also immediately catapulting 'Drunk' to be Hollinsworth's second-best-selling single, behind 'Naughty Girl' from In Hiding... (1 of 2), which sold 310,000 copies during its three-week run on the chart; and the singer's highest-peaking single, with the previous highest, also 'Naughty Girl', only peaking at number 24 on the chart. 'Drunk' also sold the same number of copies in one week as 'Naughty Girl' did in two (the latter debuted with 105,000 downloads and continued its run with a boost to 145,000). Two days later, 'Drunk' debuted at number 9 on the Hot Radio Songs chart, with a reach to a 310-million audience. This makes Hollinsworth's highest chart position on that chart since 'Naughty Girl' peaked at number 17.

In its second week, 'Drunk' partially retreated from its form: the song slipped to number 13 on the Hot Digital Songs chart with 185,000 downloads, his second best sales week of his career behind the lead single's debut. With 435,000 copies sold at the time, 'Drunk' has become Hollinsworth's best-selling single to date. The single also observed weaker support on airplay as 'Drunk' retreated five places to number 14 on the chart, two places above Love?'s first promotional single, 'Favorite Kind', at number 16. Its third week of availability saw 'Drunk' being certified Gold by the RIAA for surpassing 500,000 copies, having sold an additional 150,000 copies and been notched down ten places on the chart, now totalling 585,000 downloads sold across all outlets. In contrast to digital sales, 'Drunk' seemed to be having a minor revival on radio, adjusting up one place to number 13 while the album's two promotional singles pale in comparison: 'Favorite Kind' dropping to number 19 and 'Numb' narrowly missing the top 20 at number 21.

In its fourth week, despite of all the movement, 'Drunk' stays at number 23 on Digital selling 200,000 downloads, totalling 785,000 copies sold across all available outlets. Meanwhile, the song saw an unexpected drop as 'Drunk' plops down to number 22. On its final week on Digital, 'Drunk' was notched down a further ten places while scoring 165,000 downloads. In its five-week run on the chart, 'Drunk' sold 950,000 copies, just 50,000 copies shy of being Platinum-certified.

---

LYRICS

I’m on fire, I’m on fire
Your heat is all that I could ever ever want
It feels so high, it feels so high
You are the only drug I'd ever ever want
I want you, na na
I want your eyes, your lips, your body on me
I want you, na na
I’ve been drinking, I’ve been drinking
Drunk on the love, the sex, the everything with you
Won’t get through the night, won’t get through the night
Without your touch, caress, your kisses, everything
I want you, na na
You got me going, going harder than I’ve ever
I want you, na na
Oh, so drunk, oh oh oh oh oh

We walk into the club, and all eyes are on us
No one wants to look away
Drunk on this attention and the lights and the eyes
And we gon’ be here all night
Last thing I recall is the lipstick stains o-on your ass when we made love
I'm so drunk

I’m drunk on your love, your love, your love
I’m drunk on your love, your love, your love

We're going all night
Your body feeling so right
The bed has never felt warmer without you by my side
Boy, I'm drinking
Maybach, Cristal, some expensive liquor shit
It burns my wallet but it feels so right so why give a fuck at all?
Get my brain right, whiskey so tight, I’m on this height
This shit so tight, I’m so enticed, this love so right
Can’t think so now I’m drinking, I’m singing
1+1 in the shower, but Drunk in Love’s my only jam when you’re buried inside me
Inside me, inside me
Riding on this wood, riding-riding on this wood
I’m grinding on it, grinding-grinding on this hard crotch
I’m riding on you, riding-riding on this, good, good

We walk into the club, and all eyes are on us
No one wants to look away
Drunk on this attention and the lights and the eyes
And we gon’ be here all night
Last thing I recall is the lipstick stains o-on your ass when we made love
I'm so drunk

I’m drunk on your love, your love, your love
I’m drunk on your love, your love, your love

Going harder, going harder
Not gonna sip, just gonna gulp it down
Like a big boy, like a big boy
‘Cause this love is way too intoxicating to miss out, to miss out
This love is too enticing, like Grand Marnier, to just sip down, sip down
Can’t keep my eyes, my lips, my mouth off your body
I want you

I’m drunk on your love, your love, your love
I’m drunk on your love, your love, your love

---

Sounds Like:
(without the rap)

REESE HOLLINSWORTH AT 'GOOD MORNING AMERICA'



INTERVIEW:



George Stephanopoulos: Hello, everyone and welcome back to 'Good Morning America'. Today, this special guest returns to GMA after an electrifying performance since June. Today, he takes the seat opposite me and takes the Times Square stage downstairs once more, this time with a whole new look, a whole new outlook on life, and of course, new music. Ladies and gentlemen, this is Reese Hollinsworth. Reese, welcome back.

Reese Hollinsworth: Thanks for having me back. Wow, this place's changed so much.

George: We had it remodeled, but it's not done yet. You can see there's a mini-construction site over there.

Reese: There is? I didn't really notice, to be honest. (laughs)

George: Well, coming back to the matter at hand, first and foremost, congratulations on 'Drunk'. We know how much effort you put into the song, and it seems that the efforts really paid off. Top 10 on both Digital and Airplay. And reviews have been flying in, all praises to your efforts. Did you think that this would happen?

Reese: I hoped that it would happen, but bear in mind that 'hope' and 'think' are two entirely different concepts. I hoped it would, but I never actually thought that it would happen for real. So, it's kind of overwhelming for me to, like, take it in, really absorb it in, you get what I mean?

George: So your album comes out in a month, correct?

Reese: It's more like three weeks than a month.

George: And everybody's been talking about it, really. The fans, the radio, the press, the critics. Even us here at Good Morning America talk about it all the time when we're off the air. Have you had a thought about the possibility of your album being the album of the year?

Reese: It's definitely the album to, like, cap off the year. Like a nightcap, you know? (chuckles) I don't know about the album of the year thing, though. There've been so many incredible albums this year and my album is pretty unlikely. There's the second Weekend album coming up on the 24th, I think.

George: And they just put out their lead single.

Reese: Exactly. So, there's a lot of great music coming out this year and there's very little chance of me having the album of the year.

George: So, moving on. So you previewed us six tracks on your album already. So what will you be doing today?

Reese: I'm performing three songs today. One is of course 'Drunk'. The next one is called 'Favorite Kind', my first promotional single from the album.

George: Where is it on? I still can't find it.

Reese: It's currently exclusive on the radio. But who knows? It may be put out as the second single from the album. In the end, you'll never know. I don't even know. We're going through single selection right now and we're just basing on how the audience reacts to these radio singles to see which ones would fit.

George: How does your mechanism - if that's the right word for that (chuckles) - work, anyway?

Reese: In basic terms, we're gonna put out songs on the radio regularly, once every one or two weeks. And then we'll look at how the listeners on the radio respond to the songs. If it's good, it's gonna be in the running for being the next single. The next single is gonna be released within a week of the album's release. I actually have a release date for the unknown single.

George: What's the release date?

Reese: December 1.

George: Is this locked in yet?

Reese: Pretty much. Things are always subject to change in my camp. But I'm think I'm really confident about this date. So you could say it's locked in.

George: So tell me the songs that you'll be performing today?

Reese: One is 'Drunk', obviously. The second one is 'Favorite Kind', the first promotional single. And the last one's called 'Numb'.

George: Sounds interesting. What's it about?

Reese: First and foremost, I'd just like to explain that for this album, I wanted to have the events off-screen, and really try to focus on the feelings that inspired the song. 'Numb' follows after 'Love Me Back', and it's after the break-up, and it's about the feeling - or the lack thereof - when you're so let down that you can't even function properly. It's like you expected so much from this relationship, and then it didn't turn out the way you wanted it to. It's like in sex, (giggles) somebody's like (laughs) making you feel good, grinding on your prostate, and then the person suddenly pulls out.

George: (laughs) You do know this is live TV, correct?

Reese: (laughs) I couldn't find the right comparison, okay? Okay, so where was I?

George: The sex metaphor. (chuckles)

Reese: Ah, right. Then you're suddenly so let down that, like, the emotional part of your brain - if there even is one - can't function properly. And your nervous system doesn't work anymore. So it's like you're numb from everything. You're barely even living, you're merely existing. And that's something that I really wanted to address. So this song came to me, and trust me, it sounds amazing.

George: Okay. So right now, we got a few minutes left, so we're gonna be answering some Twitter questions. First, we have Sterling Smith with the question, just simply: 'What are your favorite TV shows?'

Reese: Ummmm...

George: You do watch TV, correct?

Reese: Does Netflix count?

George: Sure.

Reese: How to Get Away with Murder, Scandal, Revenge, numerous comedy shows,... A lot. But, I have, like, one binge-watching session and then I forget about the whole thing. So what I always do is I wait for the whole season to air then I wait for it to go on Netflix and only then I watch it. 'Cause I'm always busy, you know.

George: Okay, next question. 'directioner forever' writes: 'Everyone's been talking about #LoveQuestionMark. What's in the future for you?'

Reese: Well, I plan on doing a tour, like a small tour. But we're not sure about that yet.

George: What about a new album?

Reese: Maybe not in the near future. Like, for Love?, it was way too fast, only four months. So, I'd probably like to have at least a year to make the second album. Preferably one or two, so I have time to look over it all and see the whole picture of what I actually want for the sophomore album.

George: We're running out of time, but we do have time for one more question. Harry Styles, not the real Harry Styles, their username is @mynameisstyles asks: 'Anyone on the romantic horizon?' Ooh, the question.

Reese: Ummmm... Sorry to disappoint but no. (chuckles) And I'm not even sure if I will anytime soon. Right now, I really wanna focus on my career, my album. Love can take a backseat for six or twelve months. But who knows? You never know when you fall in love with someone.

George: Okay, Reese, thank you for joining us for this interview.

Reese: Trust me, the pleasure is all mine.

George: So, a few moments later, Good Morning America will be back downstairs in the middle of Times Square, where Reese Hollinsworth will perform in front of hundreds and hundreds of people. You nervous?

Reese: (shrugs) Eh. (chuckles) But seriously, I think every single artist out there is nervous every time they perform, so it shouldn't come as a surprise that I am now too.

George: Well, we'll be right back after these messages from your local news. Don't change the channel too soon, we'll be right back.

[The camera shoots to Times Square, where hundreds and hundreds of people are cheering as they see Reese come down and walk to the stage, immediately prepping for the performance with the band.]

(OOC: TO BE CONTINUED)

TRACK 8 - (You Lost Your) LITTLE BIT OF MY HEART


Title: (You Lost Your) Little Bit of My Heart
Artist: Reese Hollinsworth
Release date: November 24, 2014 (as promotional single)
Recorded: August 2014; Wishing Well Studios, New York City, United States
Genre(s): Pop, funk, soul, rhythm and blues, hip hop
Length: 5:04
Record label: Independently released
Writer(s): Reese Hollinsworth
Producer(s): Babyface, Beyoncé, The Corporation, Antonio Dixon, Bob Fusari, Taro Hakase, Rich Harrison, Vincent Herbert, Shea Taylor

The song was premiered exclusively to pre-orderers on November 24, 2014.
The song was officially released as the album's third promotional single to US airplay on November 24, 2014.

'(You Lost Your) Little Bit of My Heart' is a song recorded by Vietnamese-American recording artist Reese Hollinsworth for his debut studio album, Love? (2014). It was single-handedly written by Hollinsworth; its production a result of a collaborative effort of a sum of thirteen producers (four of them credited as The Corporation). The song was distributed to people who have pre-ordered the album from October 26, 2014, along with two other songs: 'No, No, No, No (Done Carin' 'Bout You)' and 'Come to Me'. The song was also simultaneously serviced to US airplay on November 24, 2014 as the album's third and final promotional single. The song is a midtempo track of funk and soul genres with notable elements of pop, retro R&B and hip hop with a whopping four key changes towards the end of the song and a 'smooth' chord progression in the chorus.

'(You Lost Your) Little Bit of My Heart' is an up-tempo R&B song viewed as a modern take on old school music. It also exhibits elements of retro-soul music, retro-pop, 1980s pop music, funk music, jazz and 1970s classic disco music, as stated by Joanne Dorken of MTV UK, Cameron Adams of the Herald Sun and Thomas Conner of Chicago Sun-Times. According to Slant Magazine'​s Eric Henderson, '(You Lost Your) Little Bit of My Heart' is a 'bright, breezy tribute to the freshness of mid-[19]80s, pre-new-jack-FM R&B reminiscent of Whitney Houston and Anita Baker.' '(You Lost Your) Little Bit of My Heart''s retro elements are further illustrated by its use of finger snaps, a "distorted" bass groove, and a melding of horns as well as sweet backing harmonies, especially in the bridge and the chorus of the song. It is instrumentally complete with a thumping bassline, synthesizers, tribal drums, an arena-rock music piano, a guitar, a peppy saxophone, and some backing vocals. Lyrically, the song finds Hollinsworth as the protagonist expressing that the subject of his affections have missed out on the opportunity to claim him, despite having 'a hold of me' for a great deal of time. 'The languid, synth-soul smoocher allows for enjoyably euphoric tone' introduces 'a mid-album interlude of mid-[19]80s pop', as stated by Andy Gill of The Independent as well as Hamish MacBain of NME. Most critics agree that '(You Lost Your) Little Bit of My Heart' signifies the reappearance of Hollinsworth's vocal prowess, though two critics: Adam Markovitz from Entertainment Weekly and Jon Caramanica of The New York Times had mixed opinions of the vocal performance, claiming that the four key changes were 'highly unnecessary' and that Hollinsworth was clearly 'over-singing'. They also remain skeptical whether Hollinsworth could be able to sing the song as 'flawlessly' as he had in other live performances.

'(You Lost Your) Little Bit of My Heart' was acclaimed by music critics who appreciated the 1980s-vibe Hollinsworth attempted and they compared the song to multiple artists of that time, including Stevie Wonder and Whitney Houston. Rich Juzwiak of The Village Voice complimented it as 'easy listening/easier dancing boogie vibe'. Genevieve Koski of The A.V. Club viewed '(You Lost Your) Little Bit of My Heart' as 'a first-listen earworm with its breezy, retro-soul style.' Greg Kot of the Chicago Tribune commended the song for putting a 'bounce' in Hollinsworth's step. Similarly, Matthew Perpetua of Rolling Stone named '(You Lost Your) Little Bit of My Heart' 'a blast' as Hollinsworth creates a modern take on old-school Whitney Houston. Hamish MacBain of NME favored the song's up-tempo style, stating that it was much needed after the 'sorrowful' and 'depressing' previous two songs from the album. Stating that '(You Lost Your) Little Bit of My Heart' is reminiscent of 1980s R&B, Erika Ramirez of Billboard magazine complimented the song as a 'perfect torch song,' stating that it will likely become a 'benchmark' for torch songs, 'much like "Halo" has for dealing with adult love.' Spence D. of IGN commented that Hollinsworth's 'cheery yet powerful disposition' and the 'brash horns' will remind listeners of 'damn good' mid-1980s R&B can be. While including the song as a 'must hear' from the album, Andy Gill of The Independent named '(You Lost Your) Little Bit of My Heart' as 'a small footnote to Stevie Wonder's innovatory genius.' Alexis Petridis of The Guardian praised Hollinsworth's vocals and called '(You Lost Your) Little Bit of My Heart' a 'well-written' song.

Becky Bain of the website Idolator viewed '(You Lost Your) Little Bit of My Heart' as a 'joyful tune that doubles as a throwback to a simpler time' and added that Hollinsworth's energy is 'infectious'. Conrad Tao of Sputnikmusic showed high favoritism towards '(You Lost Your) Little Bit of My Heart', writing: '[...] while forcing himself into a rarely used high range (at least in this album so far), he sets for a perfect catharsis for the theme of longing, sex and heartbreak in the album's first half,' and describing the outcome as 'absolutely magnificent'. Melinda Newman of HitFix commented 'the soulful, exuberant, mid-tempo finger snapper, '(You Lost Your) Little Bit of My Heart' is deliciously sunny and sweet.' James Reed of The Boston Globe wrote that '(You Lost Your) Little Bit of My Heart' sounds like the pretty young thing of Michael Jackson's 'P.Y.T.' grew up to make a sequel to that 1983 hit. Similarly, Joanne Dorken of MTV UK who described '(You Lost Your) Little Bit of My Heart' as 'scream[ing] "classic disco", catchy, [being] more uptempo than the last two songs from the lbum and differing in theme from the rest of the album", concluded that the song shows Hollinsworth's versatility and that it is 'very Jackson 5'. Ben Cardew of Music Week stated that '(You Lost Your) Little Bit of My Heart' is summery and 'laidback, rather than massively immediate'. However, he added that it proves to be a grower as it 'ratchets up the key changes on the final third', further writing that Hollinsworth's voice sounds 'particularly impressive'. A mixed review came from Adam Markovitz of Entertainment Weekly, stating that the four key changes towards the end of the song were 'highly unnecessary' and 'show-off', exactly the same comment given to the 45-second riff in his cover of 'Sweet Dreams' in In Hiding... (2 of 2).

---

LYRICS

Oh, you got a little bit of my heart, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Oh baby, tell me how was it like being with me
Did it feel good? Did you feel high?
Did you feel consumed with my sweet lovin’?
If you did, you could’ve held on a little tighter
Controlled yourself better, and not channel that control towards me
Which you already know that I don’t like

Baby, did you forget what you said when we first met
When you said you’ll never do anything that would hurt me
Oh boy, well, what do you think you did to me now?

Oh, you got a little bit of my heart, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Oh, my baby, hey, heh-eh-eh
Hey, baby
My baby, yeah

Baby boy, tell me how it feels now that you are out of my sight
Did you feel like you were wrong? Have you broken down and fallen?
I wonder why I still give a damn
Well, you should’ve known how to treat me better
How to look after your everything, your one and only
Well, apparently ‘one and only’ was not enough for you
So you took two, three more
Who’s counting, anyway?

Oh, you got a little bit of my heart, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Baby, now I don’t care how you’re doing at this dreadful time of day
But I do hope you’re sulking in a café, working behind the counter
Or even worse, I hope you’re sitting at my front door, just waiting for me to come around
Well, you should know that it ain’t never gonna hah-ah-ah-ppen

Oh, you got a little bit of my heart, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Oh, you got a little bit of my heart, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Oh, you got a little bit of my heart, oh baby, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit too far
And now you lost me, you lost me, baby

Oh, you got a little bit of my heart, oh baby, oh baby
But you let it slip away in the blink of an eye
You got a hold on me, you could control me
But when all of that’s still not enough
You go a little bit way too far
And now you lost me, you lost me

Oh, you got a little bit of my heart, oh baby, oh baby
But you let it slip away in the blink of an eye
(You got a hold on me, you could control me
But when all of that’s still not enough)
You go a little bit way too far
And now you lost me, you lost me

---

Sounds Like:

TRACK 10 - COME TO ME


Title: Come to Me
Artist: Reese Hollinsworth
Recorded: July 2014; Wishing Well Studios, New York City, United States
Genre(s): Rhythm and blues, funk, dance-pop, hip hop, soul
Length: 4:41
Writer(s): Reese Hollinsworth
Producer(s): Beyoncé, Rich Harrison

The song was premiered exclusively to pre-orderers on November 24, 2014.

'Come to Me' is a song recorded by VIetnamese-American recording artist Reese Hollinsworth for his debut studio album, Love? (2014). The song is yet another track single-handedly written by Hollinsworth and co-produced by American recording artist Beyoncé Knowles, now with the accompaniment of Rich Harrison. The song was exclusively distributed to people who have pre-ordered the album from October 26, 2014, along with two other songs: '(You Lost Your) Little Bit of My Heart' and 'No, No, No, No (Done Carin' 'Bout You)'. The song's production goes a bit further back into time in comparison to the previous two tracks, exploring early 1960's and 1970's R&B and soul, also dabbling into funk.

'Come to Me' is a midtempo R&B track viewed as a 'complete throwback' song, unlike the two previous tracks of the album, which are viewed as modern takes on old school music. 'Come to Me' is a moderate R&B and soul song that displays influences of the 1960's as well as 1970's funk and rock music. It also contains limited elements of the 1980s go-go and sounds more closely resembling live music than Hollinsworth's previous recordings. According to the sheet music published by Hal Leonard Corporation, 'Come to Me' was composed using common time in the key of G minor, with a moderate tempo of 94 beats per minute. Hollinsworth's vocals span from the low note of C4 to the high note of D5 as he sings on a hip hop and jazzy beat. The main instrumentation is provided by a bluesy guitar. IGN Music noted that 'Come to Me' is built of a 'static grit groove', and Jody Rosen of Entertainment Weekly wrote that the song consists of a mixture of 'brute power and slick syncopation'. It samples Jake Wade and the Soul Searchers' song "Searching for Soul", which was written by Chuck Middleton.

Jim DeRogatis of the Chicago Sun-Times wrote that 'Come to Me' was the 'best moment' on the album, and that it 'owes much of its charm to lifts from Jake Wade and the Soul Searchers'. Chris Richards of The Washington Post commented that Rich Harrison 'delivers again with "Come to Me", twisting a vintage Soul Searchers sample into a gritty, loping groove. Hollinsworth sounds right at home on this one ... And while it doesn't quite eclipse "Drunk", it's still Love?'s finest moment." Andy Kellman of Allmusic described 'Come to Me' as a 'spectacularly layered' track.

Eb Haynes of AllHipHop considered 'Come to Me' to be an embodiment of 'the woman wearing and buying $500 stiletto pumps.' Dave de Sylvi of Sputnikmusic wrote that Knowles is as 'sweet and faux-innocent' as the 1960s soul stars in the song. Jody Rosen of Entertainment Weekly wrote that songs such as 'Come to Me' a showcase of Hollinswoth's virtuosity and continued, 'No one — not even R. Kelly or Usher, let alone his rival pop divas — can match Hollinsworth's genius for dragging her vocal lines on this track' and that 'had it been someone else singing the song, it probably would have sounded as empty as the static noise Taylor Swift released early October.' In contrast, IGN Music criticized Hollinsworth's vocals in the song, writing that he 'comes in over the low-end track with too much earnestness, drowning out the funky grooves with her piercing dramatic mezzo-soprano. If he were more a throaty alto, hhe'd fit the beats that have been served up to him much more appropriately.'

---

LYRICS

If you want it, why don’t you come and get it
I’d love to make a move, but let me think about it, huh?
Nope, you gon’ hafta make a move
I’m a sexy woman, and I don’t need to play hard to get
‘Cause them men are gonna throw themselves at me

I see you over there with your vodka gimlet, staring me down
While I’m grindin’ on some hot guy I don’t even know the name of
I can see it in your eyes that you’re interested
And I am not gonna lie, you’re not too bad yourself
Just say the word, and I’m gon’ grind on you until the sun comes up

You could say those three magic words
(Come to me, come to me)
And I’m gon’ be all over your body like a tree
That’s what you want, right?
(Come to me, come to me, come to me)
If you’d just say the three magic words
(Come to me, come to me)
I’d try to make you moan in ecstasy
Yay, yay, yeah
(Come to me, come to me, come to me)
If you would just say the words
“Come to me, come to me”
I’m gon’ let your body come all over me
(Come to me, come to me, come to me, come to me)
Just say the word, and I’ll be all over you till night falls tomorrow

Hey, hey, hey, yeah

As I see from my seat, you got your eye on me while having two vodka gimlets coming your way
Sweet nibblets, is that even healthy? But I love that your attention is on me
I’ve known you got your eye on me since you walked into this little place
So, come on, make a move on and tell this girl
What you got on your mind for tonight

You could say those three magic words
(Come to me, come to me)
And I’m gon’ be all over your body like a tree
That’s what you want, right?
(Come to me, come to me, come to me)
If you’d just say the three magic words
(Come to me, come to me)
I’d try to make you moan in ecstasy
Yay, yay, yeah
(Come to me, come to me, come to me)
If you would just say the words
“Come to me, come to me”
I’m gon’ let your body come all over me
(Come to me, come to me, come to me, come to me)
Just say the word, and I’ll be all over you till night falls tomorrow

Hey, hey, hey, yeah
Okay ladies, one more time, here we go

You could say those three magic words
(Come to me, come to me)
And I’m gon’ be all over your body like a tree
That’s what you want, right?
(Come to me, come to me, come to me)
If you’d just say the three magic words
(Come to me, come to me)
I’d try to make you moan in ecstasy
Yay, yay, yeah
(Come to me, come to me, come to me)
If you would just say the words
“Come to me, come to me”
I’m gon’ let your body come all over me
(Come to me, come to me, come to me, come to me)
Just say the word, and I’ll be all over you till night falls tomorrow

Make a move, will ya?

---

Sounds Like:

TRACK 12 - IMMORTAL


Title: Immortal
Artist: Reese Hollinsworth
Recorded: September 2014; Wishing Well Studios, New York City, United States
Genre(s): Electro house, progressive house
Length: 4:53
Writer(s): Reese Hollinsworth, Drake Zaslavsky
Producer(s): mISTER_b

The song was premiered on September 12, 2014 on the Today Show.

Sounds Like:

Silence echoes through the room, as we move on from our own doom
But what’s important is I’m free from you, and there’s nothing you can do
I feel the pain showering down like the rain, but I feel free from your shackles
And your shadows won’t hurt me, ‘cause I’m all too used to you

You got me down, but I won’t fall
‘Cause, baby, I’m not the weak one you used to know
You shot me down, but I can’t die
Because I’m free from you, I feel immortal
Nothing can stop me so I’m letting go

Boy, I don’t know if you know this
But because of you, I’ll never stay the same
I may be weak in the first place, but I got stronger after the pain
Nothing will ever stay the same
But I know something that’ll never change
And that would be the past, when I break free, the look on your face

Almost louder than we can hear is the silence that falls down on us on that night
But I’m sure I can hear the cries in your soul, telling you to hold me back
I don’t wanna go back, and you know why, ‘cause the freak in you is the cause why I can’t lie
And the universe agrees ‘cause look where I am now, baby

Your grenade is indestructible
But so am I and not even you can break me down
Get your whole army out, and I will stand
Firmly into the ground with my immortality
Nothing can stop me so I’m letting go

Boy, I don’t know if you know this
But because of you, I’ll never stay the same
I may be weak in the first place, but I got stronger after the pain
Nothing will ever stay the same
But I know something that’ll never change
And that would be the past, when I break free, the look on your face

You got me down, but I won’t fall
‘Cause, baby, I’m not the weak one you used to know
You shot me down, but I can’t die
Because I’m free from you, I feel immortal
Your grenade is indestructible
But so am I and not even you can break me down
Get your whole army out, and I will stand
Firmly into the ground with my immortality

Boy, I don’t know if you know this
But because of you, I’ll never stay the same
I may be weak in the first place, but I got stronger after the pain
Nothing will ever stay the same
But I know something that’ll never change
And that would be the past, when I break free, the look on your face