Artist: Weekend
Title: Back In The Day
B Side: Back In The Day (Acoustic), Back In The Day (Cahill Radio Edit)
Length: 3:47
Genre: Power Pop, Rock Pop, Soft Rock
Written By: D.Blue, R.Hamilton, B.Khan
Produced By: Deneil
Format: CD, Digital Download
Label: Five Pesky Kids
From The Album: About Time

Weekend are back and ready to take on the pop charts by storm yet again after some time away from the music scene. It has been over two and a half years since they released their debut smash of an album, "Fired Up", and is also approaching two full years since the re-released version, "Fired Up: Reloaded", hit the shelves. The band first burst onto the scene in early 2012 with their rock/pop teenage love anthem "Everything About You" which reached number two and despite missing out on the top spot, it is still one of their biggest selling singles to date. Second single followed in the form of R&B influenced number one ballad "Smile About It" and top 5 pop stomper "Fired Up" came shortly afterwards. As if a string of hit singles and a chart topping album weren't enough, Weekend re-released the album which topped the charts yet again and also celebrated another number one single, "Lock It Up", and another top five, "Turn Up The Volume". Following on from that, the boys toured around the globe in their first ever world tour which sold out in minutes. A band who were put together only three months before releasing their debut single do not immediately top the charts, break records and go on a world tour to support their first ever release. It was clear that Weekend had something special.

The original second album was titled "Wild Young & Free" and was expected to have a late 2013 release alongside and official lead single. In 2013 the boys released two free downloads (Tonight & Out Of My Mind) but when official release dates for a single and the album came to fruition, nothing materialised. It was later revealed that the project was shelved as not all members of the band liked the record and believed that it is not what the fans wanted to hear either. After an extended break, the boys returned in April 2014 with "How It Ends", a rock influenced ballad which became yet another number one for the group. This was their first official release in over a year and proved to be a huge critical and commercial success. Now they are unleashing a brand new single upon us before smacking us around the head with probably one of the most anticipated pop records of the century.

"Back In The Day" is a power pop song influenced by rock. The song serves as the second single from their upcoming sophomore album, "About Time". Back In The Day is Weekend's seventh official single, following a string of successful top five releases. The song was written by three of the band members; Dustyn Blue, Riley Hamilton and Billy Khan. Recording took place in the early summer of 2014, making the song one of the very last to be included on their long awaited second studio album. The original August release was pushed back as the group felt that the song did not give off a "summer vibe" and that the classic rock influenced song would be best suited for a Q4 release. Production was handled by critically acclaimed British producer, rapper and songwriter Deneil who is also the younger sibling of Billy Khan. Sonically, the song marks a change for both the band and the producer. Deneil has claimed that it is his most "pop" sounding production to date while Weekend also believe that it is more "easy on the ears" than any of their previous releases.

The song was written by Dustyn Blue, Riley Hamilton and Billy Khan while staying for a night in Blue's home. Fellow band members Oscar Ward and Scott Wellington were also scheduled to be in attendance but due to other personal commitments, the boys were not able to make an appearance that night. Although having over one hundred songs written for the new record at that point, Weekend decided to hold multiple new writing sessions throughout the summer to bring fresh ideas to the table as well as creating possible hits for other artists that are signed to their own imprint, Five Pesky Kids. The boys reflected on the lyrics to their latest single, "How It Ends", and wanted to almost switch it all around. Rather than yearning for a relationship that is never going to happen, the boys decided to write a song about having everything they could have dreamed of and making the most out of it while appreciating what they have. Khan stated that rather than writing "yet another sad song" it would be far more interesting to create something more "uplifting" while trying to maintain the subtlety of the highly successful "How It Ends". The song stems from the line, "We're rocket ships leaving trails in our wake", which is taken from an unreleased Weekend track titled "Rockets".

Vocals
Oscar - Unlike the majority of Weekend's songs, Oscar does not receive the most solo time on this track. Ward has recently revealed that he has strained his vocal chords and therefore has had to take a backseat on some of the later recordings featured on "About Time". He does have a rather lengthy part on "Back In The Day" however, singing the second pre-chorus. Despite his damaged vocals, he takes on a rather challenging piece of the song as it is sung in a higher register than the verses and chorus. Oscar still sounds like he always has - showing off very powerful, throaty vocals. The strain only really takes place during his "belts" which he has avoided on this track.

Dustyn - Singing the first pre-chorus and one line in the bridge, Dustyn officially has the most solo time on the single. Listeners have always commented on the growth and maturity of Dustyn's vocals throughout each single release. Despite being the youngest, he has the deepest and huskiest voice while also having one of the biggest ranges. In the pre-chorus, he sings a little higher than he naturally does while still managing to maintain his powerful runs and Irish twang. For some, it might seem a little overpowering but to others his voice can be described as "magical" as there is so much power behind it and truly unique. During his line in the bridge, Blue lowers his voice and it sounds deeper than it has before. It is very rich and pronounced. Comparing it to his delivery in the pre-chorus, it's pretty clear that he has a very wide vocal range.

Billy - Billy sings the first verse, taking over from when the group open up the song in unison. His silky voice may not be as strong as that of Ward and Blue but many have dubbed him as Weekend's secret weapon and that he "sprinkles sugar over the songs". Most of Weekend's songs are very "heavy" in sound and extremely rock/pop oriented so Billy's smooth vocals sometimes seem out of place and he only really comes into play during big, dramatic ad-libs. Since "Back In The Day" is more laid back in sound, it really gives Billy a chance to shine. His serene vocals really compliment the beat and it is a rarity that Billy gets to open up a track. Towards the end of the track, Billy starts to do some of his famous ad-libs in a spine tingling dramatic falsetto.

Riley - Riley sings the second verse of the song. His voice is naturally higher than the others so when his verse comes around, it is an octave above the others. Many have said his voice rather nasally and too high pitched but here, although still higher than the other boys, he still manages to tone it down and keep the mellow feel of the track. Also, in the chorus, his vocals can be easy to pinpoint as he does the high harmony throughout and regular lead vocalist, Oscar Ward has taken a step back. Hamilton, Khan and Blue (who also happen to be the writers) are the most prominent vocalists throughout the chorus.

Scott - Scott only has one line in the new single and like Ward, he has made a conscious decision to have less solo time. On the original demo version of "Back In The Day", Scott sings the second half of the second verse, following on from Riley while Dustyn sings the bridge entirely himself. After receiving lots of backlash for his live vocal performance on "How It Ends" at the latest Chaos Awards, Scott has admitted that his confidence as a vocalist has been knocked and asked to only have a very small part on this single. His vocals are not as strong as the others but he has a beautiful tone and delivers his line in his usual dreamy, soothing way.



Hey, hey, hey, hey, na
Na, na, na, na, hey-ah
Hey, hey, hey, hey, na

The attraction isn't missing and the intensity is there
The kissing is still amazing, don't want to come up for air
Now that you've came back around I won't waste a second of it
You shook my world but I won't lie, I enjoyed the whole shake and hit

So let that loaded cannon blow as all of the drums start to roll
We're both sky bound, no time to think about what we left below
Yeah, we've got the love and know our hearts by heart
I'm the fire, you're the gasoline, we blaze on through the dark

Tonight we're going soar through the darkened sky
We'll be burning so bright they can see us from afar
Eyes full of stars as you're taking my breath away
Heads up in the clouds like they were back in the day
Tonight we'll travel at the speed of light
Make up for the lost time and put it right
We're rocket ships leaving trails in our wake
Going all out like we use to back in the day

Hey, hey, hey, hey, na
Na, na, na, na, hey-ah
Hey, hey, hey, hey, na
Heads up in the clouds like they were back in the day

Like a bolt out of the blue, like the clapping of thunder
I'm knocked around, I'm in a daze, must be a spell I'm under
When we're together you know it's like the crashing of the waves
Ferocious yet so beautiful and there's no way to escape

So let that loaded cannon blow as all of the drums start to roll
We're both sky bound, no time to think about what we left below
Yeah, we've got the love and know our hearts by heart
I'm the fire, you're the gasoline, we blaze on through the dark

Tonight we're going soar through the darkened sky
We'll be burning bright so they can see us from afar
Eyes full of stars as you're taking my breath away
Heads up in the clouds like they were back in the day
Tonight we'll travel at the speed of light
Make up for the lost time and put it right
We're rocket ships leaving trails in our wake
Going all out like we use to back in the day

Hey, hey, hey, hey, na
Na, na, na, na, hey-ah
Hey, hey, hey, hey, na
Heads up in the clouds like they were back in the day

Yeah, we've got the love and know our hearts by heart
I'm the fire, you're the gasoline, we blaze on through the dark
Now we're on another level and gonna ride it through
Just like back in the day, you know I'm still all about you

Tonight we're going soar through the darkened sky (the sky)
We'll be burning bright so they can see us from afar (see us from afar)
Eyes full of stars as you're taking my breath away
Heads up in the clouds like they were back in the day
Tonight we'll travel at the speed of light
Make up for the lost time and put it right
We're rocket ships leaving trails in our wake (in our wa-a-a-ake, yeah)
Going all out like we use to back in the day

Hey, hey, hey, hey, na
Na, na, na, na, hey-ah (back in the day, oh yeah)
Hey, hey, hey, hey, na
Heads up in the clouds like they were back in the day
Hey, hey, hey, hey, na
Na, na, na, na, hey-ah
Hey, hey, hey, hey, na
Heads up in the clouds like they were back in the day

Can Be Compared To:

Artist: Weekend
Title: Ride or Die
Length: 3:32
Genre: Pop, Rock Pop
Written By: D.Blue, R.Hamilton, B.Khan, O.Ward, S.Wellington
Produced By: Julian Bunetta
From The Album: About Time

Ride or Die is the second track on Weekend's second studio "About Time". It was written by all members of the band and is the only song to feature writing input by all five boys. This is also the only track that Oscar Ward contributed to as the rest of his efforts did not make the final cut. The track was recorded in their very own Pesky Studios in London in January 2014. Production was handled by Julian Bunetta who has been brought in to work with the band for the first time. Ride or Die is a rock pop song but unlike a lot of previous Weekend material, this track leans more towards a heavier rock style and shows a harder edge to the group. Elements of pop still remain but the main focal points are the harsh, throaty vocals and the ferocious electric guitar. The track has been critically praised for it's overall sound and has been described as a "smack around the head" upon first listen.

The track immediately starts off with harsh strums of the guitar and crashing drums, played very slow and precisely as if it is all part of a warm up before they get ready to take off. Right from the start, the song already has a very live sounding atmosphere which has been promised by the band and it certainly delivers. The introduction can give off the impression that this song will have a "dark" feel to it but as it builds up, it takes the form of a stadium filling anthem with a huge singalong at the top of your lungs style chorus. The lyrics describe a girl who likes to play around with the hearts of men to get what she wants before discarding them when they are no longer needed yet the boys still seem to be infatuated with her despite being well aware of her antics and how her mind works.

Dustyn opens up the track in his usual rich tone which is only amplified with the thrashing nature of the song, giving him room to actually let go and not contain his impressive voice like he has to on the usual pop songs. He is definitely one of the most confident vocalists and is best suited to "heavy" tracks like this. Billy takes on the second verse and while his voice is easier on the ears in general, there is a slight rough edge to it on this track which is a first. Singing a verse, being one of the most dominant on the chorus and singing the outro, Billy is probably the standout vocalist on this song. Oscar takes on the pre-chorus and the short bridge. His parts are less vocally challenging but having a natural voice type that is more suited to the rock style he still sounds like a natural and at ease despite damaged vocal chords. Riley sings the third verse and critics have noted that his vocals are surprisingly similar to Dustyn's but his register is higher, making that the key giveaway as to who is singing. He has always been noted for having a slightly higher and nasal tone. Scott does not have a solo part in this song. When they all come together, they're powerful voices fuse to make one big, hands in the air chant. Billy and Riley sound slightly more dominant in the chorus but avid Weekend fans will still be able to pick out their faves.




You're stuck in your own twisted little world and I've been pulled in
You tear me up and keep the pieces for yourself but I don't mind it
I think that I need a shaking, I don't know what I'm doing
Any sane mind would tell you to go but yet I'm still here standing

You flick your hair, show that pretty face just to get some free drinks
Daggers from all the other girls but you only care what the guys think
You walk like you own the place and got me all in a daze
You're nothing but poison but with each drip I grow to the taste

You abuse all of your bad girl charm
You cause nothing but upset and harm
I need an antidote because I'm so hooked
But I never knew that pain could feel this good

I know that you catch a lot hearts, they're lining up around the block
You stack them all up like a house of cards and I'm sitting up at the top
With one swift move you send them all flying, swept away in the breeze
No word of warning, all lifelines cut off and we fall like autumn leaves
I know I've been used yet I still want you, I just can't deny
For some strange reason I come back for more, I'll ride or die

You take all of these numbers and flutter your long eyelashes
It's like a sport, you're keeping score of all of the passes
I know that I'm not the only one, another toy in your long line
Yet I still pray that you want more, hanging on waiting for a sign

You abuse all of your bad girl charm
You cause nothing but upset and harm
I need an antidote because I'm so hooked
But I never knew that pain could feel this good

I know that you catch a lot hearts, they're lining up around the block
You stack them all up like a house of cards and I'm sitting up at the top
With one swift move you send them all flying, swept away in the breeze
No word of warning, all lifelines cut off and we fall like autumn leaves
I know I've been used yet I still want you, I just can't deny
For some strange reason I come back for more, I'll ride or die

You're stuck in your own twisted little world and I've been pulled in
You tear me up and keep the pieces for yourself but I don't mind it

I know that you catch a lot hearts, they're lining up around the block
You stack them all up like a house of cards and I'm sitting up at the top
With one swift move you send them all flying, swept away in the breeze
No word of warning, all lifelines cut off and we fall like autumn leaves
I know I've been used yet I still want you, I just can't deny
For some strange reason I come back for more, I'll ride or die

I know that you catch a lot hearts, they're lining up around the block
You stack them all up like a house of cards and I'm sitting up at the top
With one swift move you send them all flying, swept away in the breeze
No word of warning, all lifelines cut off and we fall like autumn leaves
I know I've been used yet I still want you, I just can't deny
For some strange reason I come back for more, I'll ride or die

I know that you catch a lot hearts, they're lining up around the block
You stack them all up like a house of cards and I'm sitting up at the top
With one swift move you send them all flying, swept away in the breeze

Can Be Compared To:

Artist: Weekend
Title: A Step From Heaven
Length: 3:53
Genre: Pop
Written By: D.Blue, B.Khan
Produced By: LosOscuros
From The Album: About Time

A Step From Heaven is the fourth track on Weekend's second studio "About Time". The song was written by two of the band members, Dustyn Blue and Billy Khan. The pair have the most writing credits on the album, with Blue having his name on all fifteen of the tracks. Dustyn and Billy wrote the song in February 2014 and have admitted that this is the song that they are most proud of, not only on this album but out of all of Weekend's songs. "A Step From Heaven" was originally recorded at Pesky Studios in early 2014. The original version involved the members singing different parts and it was a stripped back recording with just a piano. The track was excluded from the but after much deliberation, the boys decided to revisit the song in late summer. The new version which appears on "About Time" was recorded in Metropolis Studios and contains a more pop approach while still remaining in the form of a ballad. The tone of the chorus became more uplifting and raising in sound to coincide with the idea of "approaching heaven". Female backing singers are also included towards the end to give it an almost gospel feel. The track is the first ballad on the album and is noted for being the first song to move away from the new heavier rock sound in favour of the typical boy band ballad style.

The track begins with very simple high notes on piano, relaxed but constantly playing along with the gentle strumming of a guitar. The keys are the focal point of the intro while the guitar is just adding extra effect. Already, it is pretty clear that this is back into boy band ballad territory and a lot calmer in sound compared to the first three tracks which have played. The first verse starts after ten seconds and while the gentle strumming is still ongoing, the piano playing changes. Three lower, more dramatic sounding keys are played and are more spaced out. This continues on into the second verse first chorus but by that point, all five of the boys voices are the focus. The third verse is similar but with some bass now added to take the song into a more "pop" and uplifting approach. The same goes for the second time the chorus comes around, giving it a little more edge and complementing the lyrics and vocals nicely. The deep bass makes for a dramatic build-up during the vocally challenging bridge, giving a definitely feeling of "escalating" before whooshing of into the chorus again, now complete with gospel backing vocalists which really gives the song that heavenly vibe. The lyrics were inspired by some of the messages the boys receive from fans. Many young girls have issues with their appearance and often teased about what/who they like. Despite the word "heaven", this song is not actually about death but rather stepping into a new, peaceful world with the band. It's an ode to the fans and telling them that they truly care about them and nothing goes unnoticed by them. There is a connection between Weekend and Weekenders that people may not understand but it will certainly never be broken.

Oscar is the first member to sing and it is reminiscent of tracks from the first record and its re-release. Oscar was always dubbed "the first verse man" but was yet to open up a song on "About Time" until now. Being recorded later in the year, Oscar's vocal part had to be rather easy for him due to strained vocals. He sings rather gently across this beautiful ballad with ease. On recordings, his voice sounds fine due to many different attempts, editing and/or just having good days in the studio. Ward's vocals are on top form throughout the record. It's only live performances that may be a problem for him. Dustyn takes on the second verse in a similar approach to Oscar's. His voice sounds very delicate and fragile but with a little more power behind it than Ward's. Dustyn's voice actually sounds similar to his "squeakier" sixteen year old deliveries from the first record. Scott sings the third verse and continues the trend, keeping things relaxed vocally. Wellington's voice is naturally soft so he has time to shine on this track and seems more at home here. Riley takes us by surprise, cutting Scott off and while he still sings softly, it is in a rather high falsetto. It has been detected in his high harmonies and it's always been clear that his voice is naturally the highest pitched but it's never been heard so blatantly. Almost everyone who heard it for the first time immediately commented on and praised Hamilton's unexpected delivery. Billy sings the bridge with a whole lot power. Switching from whispering falsetto notes to harsh belts with ease, he shows off exactly what he can do with his voice and why he's a force to be reckoned with.



Don't tell me you're not worth fighting for
Don't say that you just don't belong
I know it's been a bumpy ride but I'm still here, I weather the storm
Don't ever think you're less than perfect
I don't want to hear you put yourself down
It's a cold world out there but in me you'll always have a home

There will be many times of confusion
There will be many more mountains to reach and climb
It seems hopeless right now but believe me, things will work out just fine
There's always going to be the non-believers
But don't you even give them any of your time
Shrug it off and hold my hand, I'll take a place so divine

Don't let go now because we're just a step from heaven
With a touch all the pain and fear will subside
And soon we'll fly, 'cause that love just lifts us higher
Dry those tears streaming from those bloodshot eyes
Don't let go now, oh we're just a step from heaven
Reaching a new plane that is way beyond bliss
Hold your head high, I know that you are a true fighter
Let it go, come with me 'cause we're just one step from...

I know that they've been less than kind
And in the mirror, you shout and cry everyday
But I am here to tell you, that you're beautiful in every single way
I know that sticks and stones hurt you
But a slash of silver only cuts you much deeper
Don't be your own punching bag, come with me into brighter days

Don't let go now because we're just a step from heaven
With a touch all the pain and fear will subside
And soon we'll fly, 'cause that love just lifts us higher
Dry those tears streaming from those bloodshot eyes
Don't let go now, oh we're just a step from heaven
Reaching a new plane that is way beyond bliss
Hold your head high, I know that you are a true fighter
Let it go, come with me 'cause we're just one step from...

Never be ashamed (oh, oh, oh)
Never be afraid of our love
Never doubt who you are
It's hard but we'll take it day by day
You don't have to justify your feelings and thoughts for anyone
You don't have to prove a point or answer the biting questions
And you don't have to run scared 'cause we're just a step from heaven

Don't let go now because we're just a step from heaven
With a touch all the pain and fear will subside
And soon we'll fly, 'cause that love just lifts us higher
Dry those tears streaming from those bloodshot eyes
Don't let go now, oh we're just a step from heaven
Reaching a new plane that is way beyond bliss
Hold your head high, I know that you are a true fighter
Let it go, come with me 'cause we're just one step from...

Don't let go now because we're just a step from heaven
With a touch all the pain and fear will subside
And soon we'll fly, 'cause that love just lifts us higher
Dry those tears streaming from those bloodshot eyes
Don't let go now, oh we're just a step from heaven
Reaching a new plane that is way beyond bliss
Hold your head high, I know that you are a true fighter
Let it go, come with me 'cause we're just one step from (heaven)

Don't let go now because we're just a step from heaven
With a touch all the pain and fear will subside
And soon we'll fly, 'cause that love just lifts us higher...

[fade]

Can Be Compared To:

Artist: Weekend
Title: Only Just Begun
Length: 3:47
Genres: Pop
Written By: D.Blue, R.Hamilton, R.Ifon, E.Reynolds
Produced By: Julian Bunetta
From The Album: About Time

Only Just Begun is the sixth track on Weekend's second studio album "About Time". The song was written by band members Dustyn Blue and Riley Hamilton alongside writing partners Renee Ifon and Edward Reynolds. The group wrote the song in early 2014, making it one of the last songs created for the project. Dustyn Blue wrote the majority of the song on his own while staying in a hotel during a promotional trip to Japan. Blue was reflecting upon the early days of the band and just how much they have achieved without even having released a second studio album. The track was recorded at Pesky Studios the day after the song was finished with the help of Riley Hamilton, Renee Ifon and Edward Reynolds. A mid-tempo 60's pop inspired backing track already existed, originally intended for another track from the album and the band decided to build the melody around it. The song is one of the slowest moments on the predominately rock influenced record. Much like the track "A Step From Heaven", the band come together to harmonise many times throughout the song which is something all of the fans love to hear. As well as harmonising together on the chorus, throughout portions of the song they also blend their five unique voices together to provide backing vocals taking the form of chilling "ooohs" and "aaahs" which give the ballad added depth and a contemplative feel.

The track opens up with a gentle tinkering of high piano keys, already stating that this song will be one of the more tender moments on "About Time". While Weekend's rock sound is always praised as it sets them apart from the likes of The Stat Nerds, The Zone and ELMNT, it is the ballads that really show off their vocal abilities and creativity. A mid-tempo always gets the fans all hot and bothered as the band always focus on meaningful lyrics and stunning vocal performances which is why they are loved by them so much. Uptempo tracks get the party started and allows fans to get whisked off into a carefree world but the ballads are the true Weekend moments. Unlike other slower paced songs in Weekend's back catalogue, Only Just Begun stands out for two very different reasons. The backing track has a throwback feel to it, taking inspiration from songs by 1960's harmonising vocal pop bands. The lyrics do not deal with a relationship like a lot of stereotypical boy band ballads. Instead the song reflects on the early days of the band and the ups and downs they endured. Despite all the "tears", "issues", juggling band life and school work and missing out on free time and sleep, they wouldn't change it for the world and look forward to what is yet to come. Many who have heard it already claim that it will soon become the theme song for Weekend and fans around the world as it documents their journey so far.

Billy opens up the song with his smooth silky vocals, drawing the listener in from the off. The throwback pop sound compliments Billy's dreamy vocals beautifully as it glides over the track with ease. There is a sense of honesty and humbleness in his voice as he starts to tell us about Weekend's insane journey to worldwide success. In the original demo, Billy sung the first verse and the third one which starts off with "we wrap it all up around lunchtime in the studio". That verse however refers to heading back to school and as Billy dropped out of education before joining the band it didn't feel appropriate resulting in him only having the first verse. Dustyn then takes on the second verse, signing in a huskier tone then Billy and also at a slightly faster pace. His rich vocals stand out even more as it is sandwich between Riley and Billy's parts, two of the softer voices in the band. Like Billy, Dustyn's performance is very believable as he recalls his time in school while recording their debut album. Dustyn also takes the second verse as Billy felt like it didn't seem authentic enough to come from him. Riley comes in and sweeps us away with the pre-chorus. Although he doesn't have many lines, he is the shining star in this swaying pop ballad. His clear and soaring soprano really stand out, showing a lot of improvement from the first album when it used to seem rather piercing and not very well enunciated. The boys all harmonise together in the chorus and Scott takes the last two lines of it. His vocals have came under fire in the past but as this song isn't vocally challenging (aside from Riley's parts), he sounds very at ease here and his soft vocals fit in well with the overall sound of Only Just Begun. Oscar sings the fourth verse, singing in a similar style to Dustyn's in his second verse. It is slightly faster in pace and Ward's deep, rocky edged vocal delivery make it almost identical to Blue's.



Reflecting back on all of our Kodak moments
Here's to many more like all the ones we had way back when
There's been so many tear drops and issues
Now I can look back at laugh at the person I was then

Bus to bus, out of breath, such an eager little kid, oh
Used to rush around and dance among big city lights
School books weighing me down as I battled through the rain
No time to fix my hair, just wanted to be on time

And as time keeps on passing me by
I try to catch my breath but this whirlwind, it never waits for me
(Yeah, yeah, oh, oh, oh, oh)

I'm still a kid right at heart but got a lifetime of memories in my head
Walked through the deep and the shallow, so many things that I have learned
And there's no signs of stopping, the long and winding rivers still flow
We'll ride it out together but where it leads us, nobody even knows
And we've only just begun, only, only just begun
Only just, only just, only just begun
And we've only just begun yet it seems like a lifetime
Though I would never change a thing that's happened on this ride

We wrap it all up around lunchtime in the studio
Wipe the crumbs from my jumper and it's straight back to school
Coming home after being picked up and driven just like royalty
Though it was far from it, doing maths and changing in the back seat

Though half asleep, I don't think that I've ever missed out
Still had my friends and they always stood right by me
I know that I had little time to just kick back and chill
A hectic lifestyle but I made sure to still keep it real

I swear it was only just yesterday
I try to catch my breath but the years don't seem to wait for me
(Yeah, yeah, oh, oh, oh, oh)

I'm still a kid right at heart but got a lifetime of memories in my head
Walked through the deep and the shallow, so many things that I have learned
And there's no signs of stopping, the long and winding rivers still flow
We'll ride it out together but where it leads us, nobody even knows
And we've only just begun, only, only just begun
Only just, only just, only just begun
And we've only just begun yet it seems like a lifetime
Though I would never change a thing that's happened on this ride

And I will hold my hands, sometimes the going gets tough
But it's all worth it in the end
I take a look around me and see all that I have achieved
Know all that doesn't come easily
And as our lives keep turning, we just keep on learning
We're still those five pesky kids

And as time keeps on passing me by
I try to catch my breath but this whirlwind, it never waits for me
(Yeah, yeah, oh, oh, oh, oh)

I'm still a kid right at heart but got a lifetime of memories in my head
Walked through the deep and the shallow, so many things that I have learned
And there's no signs of stopping, the long and winding rivers still flow
We'll ride it out together but where it leads us, nobody even knows
And we've only just begun, only, only just begun
Only just, only just, only just begun
And we've only just begun yet it seems like a lifetime
Though I would never change a thing that's happened on this ride


Can be compared to:

Artist: Weekend
Title: Chokehold
Length: 3:33
Genre: Pop, Rock Pop
Written By: D.Blue, S.Wellington
Produced By: LosOscuros
From The Album: About Time

Chokehold is the eight track on Weekend's long awaited sophomore album, "About Time". The song was written by the youngest and eldest members of the pop band, Dustyn Blue and Scott Wellington. Blue holds writing credits on every song from the album to his name while Wellington is credited for co-writing five of the tracks, respectively. The song was written by the pair in their hotel room while in L.A, recording parts of the album with a number of different American producers. At the time, over sixty songs had been written and this track was created purely out of boredom due to a sleepless night and was never intended on being part of the second album. The melody for "Chokehold" was also arranged by Wellington and Blue. Rough acapella versions of the song were recorded on the band's phones like a lot of other songs that were late on coming into the project. After presenting the song to LosOscuros, a pop production duo whom Weekend have worked closely with for three years, the group recorded the song a day before they were due to head back to London. The song was originally intended to have all five members singing the chorus in unison but when the producers heard the very first demo with Dustyn singing the verses and Scott singing the bridge, they stated that Wellington should keep the chorus for himself. Not only is "Chokehold" the song in which Scott gets the most solo time on the album, it's the most that Scott has sang in any Weekend track ever recorded.

The song opens with the playing of an electric guitar backed with a subtle drum machine. The cheery sounding chords, descending each time before restarting and repeating again as it leads us into the song. When the verses kick in, the guitars sounds more aggressive and are aided with some perfectly polished synths to give the rock-pop tune an electro tinge. The powerful vocals of each member are the focal points throughout the song though and despite heavy guitars and pop synths, the instrumentation does not distract. Rather than being overpowering, the arrangement compliments the vocals perfectly. Even when the boys' vocals take a step back like Riley's section of the song, the backing instruments also subside and just a "fluttering" of the chords play as the softer sounding bridge is performed by the members. "Chokehold" tells the story of a girl (or guy) who still tries to hold onto their ex despite being the one to end the relationship. While he or she is "allowed to" move on and see other people, they don't like seeing their ex with someone new and still sees them as "property" even though the relationship ended. The boys compare it to being in a chokehold, finding it hard to escape and feeling as if they are owned, being carried around for whenever they might just be needed.

Dustyn opens up the track with attitude packed vocals, showing off his ability to sound aggressive yet pleasing to ears as he combines his powerful rough vocals with his flawless vibrato. He has always been a confident and competent vocalist but is really going the extra mile on the new album now that his voice has matured and he's gained more control over it. Dustyn also sings the last part of the bridge, taking on the longest and biggest note of the song. He belts out the word "no", showing off the sheer power he holds. Oscar sings the pre-chorus twice, staying in a relatively safe vocal range for his then damaged vocal chords. He will start off every line in a lower register before gradually rising towards the end of it. When it comes to "stuck on just like a leech", he puts a lot more force behind his vocals and it sounds like he's almost chanting rather than singing. Scott surprises listeners and takes on a much larger role, singing the entire chorus by himself. Scott is known for having very soft vocals and also for not really taking on much in the way of solo parts. However, he shocks everyone here by taking out a very loud, chant-like, rock pop chorus all on his own. While there are no high or really challenging notes throughout it, the fact that he is finally projecting his voice and his voice only really makes him the star of the song. Billy takes over with the second verse of the song and rather than sounding sweet and smooth like he usually does, Billy gets a little feisty with his vocals. While it lacks the "growl" of Blue and Ward's, it certainly packs a punch. Infusing his silky tones and Cockney accent into some of the words still gives it that Billy magic though. He also yells out the closing line in true Billy fashion. Riley comes in with the bridge, a much more relaxed portion of the song in comparison to its heavy rock pop sound. Like a lot of his airtime on the album, Riley shows off his higher vocal range but tones it down slightly, singing rather softly to coincide with mellowed electric guitar providing the backing during this section. One criticism though is that he sounds slightly nasal again, reminiscent of his vocals from the first album rather than the matured, more controlled one he has presented on the record until now.



You're telling all your friends that I was a big mistake
You call me every nasty word when you're with him at his place
The pair of you share a kiss and then laugh at my expense
Does he know that you call me up when it all gets heated and tense?
So much for ranting and raving about letting me go
You practically packed my bags and through me out of the door

I thought that giving you my all was not enough?
Threw all your gifts at me like they were worthless junk
For someone who couldn't wait to see the back of me
You keep hanging around, stuck on just like a leech

You'd think that by now you would have let me go oh
But you still keep me here inside your chokehold
It's getting harder to breathe, you're taking all my air
But all this time I've never known you to play it fair
If you really want to move on why do you keep me here?
Am I old faithful, a safety blanket that you like to have near?
It's time to cut these ties because this is getting old
I can't keep on living here inside your chokehold

Let me go, go, go, go, go
Let me out of your chokehold

Uh oh oh uh oh oh
Cho-oke ho-o-old
Uh oh oh uh oh oh
Cho-oke ho-o-old
Uh oh oh uh oh oh
Uh oh oh uh oh oh

You can give it all away but I can't dare see someone else?
My arm around them in a picture, suddenly out breaks hell
You want me stuffed in your pocket for your times in need
I'm hell of a sorry but you know that it just can be
So I'm guessing that your future with him is in doubt
Because it's 2 am and you're calling while crying your eyes out

I thought that giving you my all was not enough?
Threw all your gifts at me like they were worthless junk
For someone who couldn't wait to see the back of me
You keep hanging around, stuck on just like a leech

You'd think that by now you would have let me go oh
But you still keep me here inside your chokehold
It's getting harder to breathe, you're taking all my air
But all this time I've never known you to play it fair
If you really want to move on why do you keep me here?
Am I old faithful, a safety blanket that you like to have near?
It's time to cut these ties because this is getting old
I can't keep on living here inside your chokehold

Let me go, go, go, go, go
Let me out of your chokehold

Uh oh oh uh oh oh
Cho-oke ho-o-old
Uh oh oh uh oh oh
Cho-oke ho-o-old
Uh oh oh uh oh oh
Uh oh oh uh oh oh

Now you're suggesting that we should get back, well forget that
After everything I've went through, I see that I'm better off alone
Weren't you the one that called it quits and needed "more than this"?
You made up a whole speech on how you could do it all on your own
Took too long to make your mind up but mine is set, you're out of luck
It feels so good to finally tell you nooooooooooo, oh!

You'd think that by now you would have let me go oh
But you still keep me here inside your chokehold
It's getting harder to breathe, you're taking all my air
But all this time I've never known you to play it fair
If you really want to move on why do you keep me here?
Am I old faithful, a safety blanket that you like to have near?
It's time to cut these ties because this is getting old
I can't keep on living here inside your chokehold

You'd think that by now you would have let me go oh
But you still keep me here inside your chokehold
It's getting harder to breathe, you're taking all my air
But all this time I've never known you to play it fair
If you really want to move on why do you keep me here?
Am I old faithful, a safety blanket that you like to have near?
It's time to cut these ties because this is getting old
I can't keep on living here inside your chokehold

Let me go, go, go, go, go
I'm finally out of your chokehold!

Can Be Compared To:

Artist: Weekend
Title: Hard To Forget
Length: 3:34
Genre: Pop
Written By: D.Blue, B.Khan, T.Newton
Produced By: LosOscuros
From The Album: About Time

Hard To Forget is the ninth track on Weekend's long-awaited sophomore album, "About Time". The song was written by Dustyn Blue who has writing credits on every track, Billy Khan who holds a respectable eight songs on the record to his name and writing friend, Theresa Newton who is exclusively signed to Five Pesky Kids. The song was written by the trio during writing session taking place in Pesky Studios back in late 2013. The song was originally intended to be recorded in the form of a ballad but during the recording process of the album, band member Billy Khan suggested that they "play around" with a few of the mid-tempos and ballads to "inject some life into them" as he believed that the new album was shaping up to become "extremely ballad heavy". A very rough acapalla version of Hard To Forget was brought to LosOscuros (alongside previous track "Chokehold") and the down-tempo number was transformed into a glitzy disco inspired tune, something which the band was divided over. While all five agreed that the version was great, Khan refused to put it on the album as it did not fit in with the rest of the record. Not wanting to abandon the song, Weekend re-recorded and rearranged their vocals to see what else they could come up with to reconstruct and salvage the song. In the end, they believe that they combined the perfect mix of the rock-pop sound of "About Time" with the upbeat, disco-pop throwback influence of the original track to create the final version which appears on the album right now. Oscar Ward has stated that this song is the most difficult to perform for him as a lot of it is sung in a higher falsetto range at a fast pace.

Keeping with the idea of digging through their parents' record collection, "Hard To Forget" follows the same throwback feel like a number of tracks on the record. Rather than taking it back to the swooning style of 1960's (presented to us on "Only Just Begun" and "The Lucky Ones") or delving into the smooth R&B influence of the 1990's ("Back In The Day"), Weekend take us back to the radio-friendly disco years of the 70's and 80's and combine it with their signature style to deliver us yet another finely carved pop gem. The song opens with playful, tinkering synths which immediately tell the listener that the song is going to be like nothing else heard on the record up until this point. While the disco infused instrumentation grabs the listener in, it's the songs underlying heavy bass guitar which is the real star of the production. The song sounds as if it's directly "borrowed" from a handful of songs from that period of music, although no sampling has officially been credited or confirmed. As the boys start to sing, it's the bass guitar that carries them along and provides the platform for their high vocals to flutter over unperturbed by any messy or over the top production. The instrumentation is definitely a highlight of it's own but it's the melody and unison of the five band member's vocals that really take the cake. Lyrically, the song contrasts greatly from previous track Chokehold. This time, the guys are the ones who cannot seem to let go. However, rather than wanting to get back together with their ex and having a possessive and jealous hold on them, they accept that things are over but find it extremely difficult to move on, act as if nothing happened and kick start their single life again as the relationship was all they had known for an extremely long time.

Riley opens up the track which is unsurprising. With disco inspired music being one of his favourite genres and his ability to easily tackles songs with high registers, it's no wonder why he was selected to open it up. He does not sing in high pitched Bee-Gees styled belts but presents himself as rather fragile and hurt while delivering his lines. The higher range is there but it seems as if he's holding back, trying his best to control himself which coincides with the lyrics of the song, especially his opening verse - "It's all becoming too much and I'm going to lose control". When the chorus reaches its peak from the "uh whoa oh oh's" an onwards, Riley can be heard the clearest as he provides the highest harmony. Oscar sings the pre-choruses. He finds it difficult to sing in a higher register, especially during the time of recording so as a result, Ward takes on the lowest parts of the song. Not wanting to rest on his laurels though, Oscar makes sure he deliver his lines with more bite, sounding more assertive than Hamilton. Ward can also be heard towards the end of the chorus alongside Blue, providing low "aah" harmonies. Billy sings the second verse and has been applauded for his performance yet again. His ever growing range, control and connectivity with the songs is certainly present here. Although he refrains from his now signature "belts", Billy still manages to sing his entire verse higher than he usually does and sounds flawless, carrying it with ease. He also provides ad-libs and backing vocals during the chorus and at the tail-end of the song, singing very softly so not to distract from the other four but making sure we still acknowledge him as he does so. Dustyn then comes in with the bridge of the song and as he does, the production takes a back seat so we can focus on Blue's smooth, sincere delivery. He sings in a low, soft tone with his Irish accent even subsided which comes as a surprise. His enunciation is even a lot clearer than usual. Dustyn finishes off his part with a huge, belt easily soaring up the octave scale. Many have said that despite having the biggest range in the group, his enunciation and harsh vocals make his performances a little grating. Here, however, he delivers his lines clearly and rather than a "scratchy" and "throaty" high note that sounds forced, it is powerful and clean sounding. Scott does not have a solo on this track but it's been suggested by Oscar that he may take on his parts during live performances.



It feels like I'm underwater, my tiny mind is caving in
It's all becoming too much and I'm going to lose control
The pressure keeps on building and it's the same everyday
I can't hold my head up, always swept away in the undertow
I think back to the beginning and how we used to be
Been ten long months but I just can't seem to let it go

I'm not asking or begging you for one more shot
It's clear that you're happy with what you've got
Just finding it hard even though all is said and done
We're miles apart and I can't believe what we've become

If I should turn my head away and do my best to hide my face
Know that I'm not being rude, it's just hard seeing you again
Try to hide my pain, uh whoa oh oh
Whenever the nights get the cold and I can't call you up
It's yet another reminder of all the things that I've went and lost
And all the ache it's caused uh whoa oh oh
I hope one day I can finally turn that page
(It's just so hard to forget, it's still running around in my head)
I ho-o-ope one day I can finally turn that page
(It's just so hard to forget, can't even force a smile to pretend)

Trying so hard not to notice that soon I'm going to sink
Surviving and putting myself first has never crossed my mind
The final nail's in the coffin, can't kick my feet off to swim
You're heading out to the horizon and I'm wading, left far behind
I shouldn't feel this hopeless but the whirlwind drags me in
Why should I even fight it when I have no more lifelines?

I'm not asking or begging you for one more shot
It's clear that you're happy with what you've got
Just finding it hard even though all is said and done
We're miles apart and I can't believe what we've become

If I should turn my head away and do my best to hide my face
Know that I'm not being rude, it's just hard seeing you again
Try to hide my pain, uh whoa oh oh
Whenever the nights get the cold and I can't call you up
It's yet another reminder of all the things that I've went and lost
And all the ache it's caused uh whoa oh oh
I hope one day I can finally turn that page
(It's just so hard to forget, it's still running around in my head)
I ho-o-ope one day I can finally turn that page
(It's just so hard to forget, can't even force a smile to pretend)

It's just so hard to forget, it's still running around in my head
It's just so hard to forget, can't even force a smile to pretend
'Til death do us part, but it's clear that we've now lost that spark
'Til death do us part, so why do I have to make a brand new start?
One day I hope that I can turn that page, that I can turn that page
That I can...uh whoa oh oh

If I should turn my head away and do my best to hide my face
Know that I'm not being rude, it's just hard seeing you again
Try to hide my pain, uh whoa oh oh
Whenever the nights get the cold and I can't call you up
It's yet another reminder of all the things that I've went and lost
And all the ache it's caused uh whoa oh oh
I hope one day I can finally turn that page
(It's just so hard to forget, it's still running around in my head)
I ho-o-ope one day I can finally turn that page
(It's just so hard to forget, can't even force a smile to pretend)

It's just so hard to forget, it's still running around in my head
It's just so hard to forget, can't even force a smile to pretend
It's just so hard to forget, it's still running around in my head
It's just so hard to forget, can't even force a smile to pretend

Can Be Compared To:

Artist: Weekend
Title: Just A Boy
Length: 3:18
Genres: Rock Pop
Written By: D.Blue, R.Hamilton, B.Khan, S.Wellington
Produced By: Savan Kotecha
From The Album: About Time

Just A Boy is the eleventh track on Weekend's long-awaited sophomore album, "About Time". The track was written by four out of five members of the group. Dustyn Blue, Riley Hamilton, Billy Khan and Scott Wellington all penned the song together during a day of recording at Pesky Studios in London. Weekend knew that most of their songs were about love in one form or another and it's what they're best known for. Wanting to put a new twist on a love song, Blue and Wellington came up with the idea of a "sarcastic" love story, focusing on a seemingly never ending argument. The chorus of the song was written by both Dustyn Blue and Scott Wellington before Hamilton and Khan joined the writing session to complete the rest of the track. That same day, the group returned to the studio to record a very rough version of the song. It had a "raw" and "lively" feel to it, not too dissimilar to the final one we're hearing on the album today. "Just A Boy" would not be properly revisited and worked on until a few months later, when revising all of their material and narrowing down possible song choices for the final tracklist. Production for the final version was again handled by Savan Kotecha who also provided the original demo. The song is noted for being rather different in sound and structure to a lot of other Weekend tracks. The shared chorus between two members is something that's rarely done and also, the frequent use of Scott Wellington's vocals throughout make it rather intriguing as he is well known for being the weakest vocalist and not having much solo time.

The song opens up with a deep, crisp strumming of an electric guitar backed with fast and timed claps. Already, it is shaping up to be one of the most upbeat moments on "About Time". As a slight bass kicks in and brings the song to life, a throwback to the 1960's is inescapable. Many critics have already stated that the new album sounds as if the boys have had a dig through their parents' record collection for inspiration and "Just A Boy" certainly supports that statement. Even member Oscar Ward has said that he's a huge fan of the "summery 60's vibe" showcased on the song. Rather than sounding like a direct rip off of any song you'd hear on the radio way back then, the band have obviously incorporated their signature rock/pop sound to flesh the song out and give it more "meat". It has also been dubbed as the "older brother" of the song "Only Just Begun" which also contains a strong 1960's influence but is more stripped back and the throwback vibe is much more apparent. Lyrically, "Just A Boy" deals with a frustrating relationship and has been called a "sarcastic" love song. At first, the song seems like a dig to the partner and almost like a break-up song. The male in the song is always being patronised and rubbished, receiving the blame for everything despite being the perfect partner. It's all a way of the girlfriend covering up her own flaws and passing it on to someone else. However, the song states that no matter what is said they still love each other and will always find a way back into each other's arms.

Oscar opens up the song in a rather playful manner with "bouncing" vocals, switching between high and low notes rather frequently. He does this with ease and proves yet again why he is such an important part in the Weekend machine. As it's a little higher for him than usual, his vocals here have been compared to the ones on the first record, before his voice really matured. While his voice is still rather husky and deep (and always has been), it is sounding a little higher and sharper like it did back in 2012. Dustyn follows on in a similar style, drifting in and out of all of the notes. The verses can be rather challenging as the notes chop and change several times throughout the one line, giving very little time to catch a breath or even think about the note change. Many note the similarities in Ward and Blue's voices, with only little hints in the delivery to tell us who is actually singing. Dustyn's higher notes are not as sharp and quick as Ward's here. Instead, they sound more "airy" and "breathy", sounding more at ease. Billy comes in leading the chorus and taking the song to new heights. While the previous two members have been changing it up, Khan sweeps everyone away with his belting vocals which seem limitless as he gradually escalates with every single word. Again, he contrasts with the rough vocals of Ward and Blue but the same power and force is still there, if not amplified. While he doesn't have a verse to himself he is the "secret weapon" of the song, unleashing his powerful vocals at crucial parts of the song and picking it up to take it from a "catchy" to "totally infectious". He also sings the last line in a slightly lower tone, sounding more relaxed and finishes it off with a signature vocal run. Scott takes on the middle section of the chorus and has received a mainly positive response. While a lot may argue that his voice sounds a little strained and unnatural to be singing anything this powerful, it cannot be denied that he did a great job keeping up with the sheer vocal force that is Billy Khan. Also, for a naturally soft vocalist like Wellington, singing as high and as strongly as this would prove a difficult task. It shows off that he has a wider range than expected. Scott also sings the bridge. It is more laid back, sounding almost half-spoken and not as demanding as his lines in the chorus. Riley sings the third verse and like Wellington, he also proves a lot more to us. While Hamilton has never been considered a weak vocalist by any means, he demonstrates more vocal talent than witnessed before. His voice sounds rather gruff just like Oscar and Dustyn's and also comes across as rather natural when doing so. It is not a faked voice. The same tone is still there but now he's showing off his lower register, which is something we aren't used to seeing. His low, growling notes have been described as "sexy". Moving from his low notes to his signature higher ones, Riley proves to us that he may be the member with the most expansive vocal range.



I'm "just a boy" and that is all that I'll ever be
I will never amount to anything credible, you see?
Been told that I play with hearts like they're paper planes
Of course, I don't think about any of the consequences
All is said and done by the time I finally come to my senses
I'm "just a boy" so it's so much easier to point and blame

Do you really think my heart is never fully in it?
You must be joking, no idea how you could ever think this
Guess all our times, laughs and lazy days in bed were make believe
Hear you out and don't pick on all the things that are wrong
I open my mouth and you walk away, when will I ever get my turn?
Doesn't matter anyway, I know that all you'd do is disagree

And if I leave, you'll still want me, you'll still want me tomorrow
If I stay, I know that I won't hear the end of it until I go
Now tell me who is the one that's playing all the games?
Oh tell me who crushes who just like they're little paper air planes?
It's not right, it's not fair but I forgot that I don't have a say
Because I'm "just a boy", I'm just trouble, you should walk the other way
If I'm "just a boy" then why do you always want stay?

I've never came home with different shades of lipstick on my collar
Shame that the same thing can't be said for a lot of the others
Even your parents seem to trust me a whole lot more than you do
Remind me why you still stick around because I really have no clue
The way you talk about me, seems like you just want to start from scratch
But I'm all you've ever known, you don't want to go doing that

And if I leave, you'll still want me, you'll still want me tomorrow
If I stay, I know that I won't hear the end of it until I go
Now tell me who is the one that's playing all the games?
Oh tell me who crushes who just like they're little paper air planes?
It's not right, it's not fair but I forgot that I don't have a say
Because I'm "just a boy", I'm just trouble, you should walk the other way
If I'm "just a boy" then why do you always want stay?

I'm "just a boy", I don't seem to know what I'm doing
I'm "just a boy", oh is that really how you're feeling?
Am I just a toy? Throw me away when you're feeling bored
If I'm "just a boy" then who else is gonna love you more?
Say what you want but I know that you love this boy

And if I leave, you'll still want me, you'll still want me tomorrow
If I stay, I know that I won't hear the end of it until I go
Now tell me who is the one that's playing all the games?
Oh tell me who crushes who just like they're little paper air planes?
It's not right, it's not fair but I forgot that I don't have a say
Because I'm "just a boy", I'm just trouble, you should walk the other way
If I'm "just a boy" then why do you always want stay?

And if I leave, you'll still want me, you'll still want me tomorrow
If I stay, I know that I won't hear the end of it until I go
Now tell me who is the one that's playing all the games?
Oh tell me who crushes who just like they're little paper air planes?
It's not right, it's not fair but I forgot that I don't have a say
Because I'm "just a boy", I'm just trouble, you should walk the other way
If I'm "just a boy" then why do you always want stay?

I'm "just a boy", oh, oh, oh
I'm "just a boy", oh, oh, oh
I'm "just a boy", oh, oh, oh
I'm "just a boy", oh, oh, oh
Say what you want but I know that you love this boy

Can Be Compared To:

Artist: Weekend
Title: Heartbreakers
Length: 3:18
Genres: Rock Pop
Written By: D.Blue, S.Hollywood, B.Khan
Produced By: LosOscuros
From The Album: About Time

Heartbreakers is the thirteenth track on Weekend's long-awaited sophomore studio album, "About Time". The song was written by band members, Dustyn Blue and Billy Khan alongside songwriter Sara Hollywood who has an exclusive publishing deal with Five Pesky Kids. The trio have been dubbed by many fans as "the sacred three" as they have written many of Weekend's major hits together, proving to be a highly successful combination. The track was written in the summer of 2013 and is one of the oldest track on the record. It was originally intended for inclusion on the original version of their second album which never materialised. In 2013, the boys released some free downloads but no official single or album. Back in 2013, on the scrapped album, Weekend experimented with a more EDM influenced sound in an attempt to appeal to a wider audience. However, after hearing a lot of the material played back, they were not huge fans of it and believed it would also isolate a lot of their fans who grew to love them because of their original rock-pop sound. Not wanting to stray away from their routes any more, Weekend cancelled the album and began working on what has now become "About Time". A stand out track from the 2013 sessions along with "Animal", the band set "Heartbreakers" to one side and vowed to work on it again in the hope that it could be salvaged and reworked. Long time production collaborators, LosOscuros, worked on the track and updated the instrumentation. The boys also re-recorded their vocals at Pesky Studios. Many critics have dubbed this song as "the stand out track" and have praised it's heavy, up-tempo production and commercial appeal. "Heartbreakers" has also been called "a sure-fire hit" and "obvious single choice"

The original version of the track was a heavy EDM number, sounding nothing like any of Weekend's past work. A very low quality, 45 second snippet of the demo leaked online and was posted on Tumblr back in March 2015. However, it has now been taken down. The brand new updated version of the song still contains a nod to the original upbeat nature but now contains that signature Weekend sound, filled with powerful vocals and a heavy use of live instruments. Many have called it "EDM and dub-step tinged" and it's clear where those comments are coming from. Although the song refrains from using any computer generated beats, the band and producers have cleverly arranged the instrumentation in order to sound similar to that of a dub-step track. Using thrashing electric guitars for a colossal build up and booming bass and erratic drumming before everything "drops", they have managed to recreate that sound using live instruments which has been lauded by critics. Opinions have been divided on the lyrical content, although mainly positive, as it strays away from Weekend's "good boy" musical image. The song discusses "stealing" someone else's partner for the night and showing them a good time at a party or night out as their other half seems like he couldn't be any less interested if he tried. With lines like "Stop. Don't look his way because your "Romeo" just let you slip away." and "Bet he thought it was in the bag, until his feet started to drag" it seems as if Weekend have switched for "Mr Nice Guy" to "Mr Steal Yo Girl".

Dustyn opens up the song after the boys harmonise acapella. Being one of the members with a naturally deep singing voice, he was the perfect choice to sing the first verse which is sung over a very deep bass and electric guitar. He glides along with the production, keeping his voice under control to help keep the track sounding "contained" throughout his section. Although, even though can't blast out any major notes it doesn't stop Blue from impressing. His deep, rich vocals sound as if they're "grumbling" and ready to attack at any second. His Irish accent also sounds very prominent here too, especially on the line "You look a little nervous..." . Riley sings the pre-chorus several times throughout the song. Many have called him the "star" of the track. While he may not have the biggest section, he is a staple throughout the track and sings arguably the catchiest part of the song. He stands out for being the only member to fully use a higher register for all of his section. The verses of the song are rather "low" and follow the deep bass of the track but when Riley comes in, he kicks it up a gear. His vocals are crisp, playful and slightly higher. This time, his voice is the thing that's aiding the instrumentation along. Hamilton really sets the song up for its build up and drop, making him a crucial part of the song. Billy then appears on the second verse. Usually noted for his powerful belts and strong performances, Billy sounds a lot more relaxed here and even shows off his lower register. Granted, he cannot go as low as Dustyn but he certainly impresses and shows that he's capable of more than just those impression runs. he still manages to keep his silky smooth tone throughout and now matter how low he goes, Billy always manages to caress the ears with his beautiful delivery. He also returns on the second pre-chorus, echoing some of Riley's lines in a more powerful manner while putting his vibrato abilities to good use. Billy also does one of his signature high notes at the end of Oscar's bridge. Rather than a huge belt though, he explores his higher regions with an airy, relaxed delivery. Oscar shows off his "wild" vocals in the bridge, definitely having fun during his performance. He sings in a carefree manner with loud, "punchy" vocals with deliberate breaks in his voice at times. During Ward's section of the song, the heavy backing has subsided so his voice has to be the thing keeping people hooked and "hyped" for the song to escalate again. As the song's story is set at a club, it sounds as though Oscar is actually picturing himself at one, totally letting go and letting his voice flow freely and just going with whatever notes happen to come out. He appears again towards the end of the song, taking the middle section of the outro. His voice is more controlled there and sounds similar to Dustyn's as they're both using their lower registers. Scott does not have a solo section in this song. However, as the chorus of the song requires them to harmonise together and blend all of their different tones, experts of the band will be able to follow Scott's lines. He provides the second highest harmony, below Riley and just slightly above Billy.



Ooh, ooh, ooh, ooh, ooh, ooh

You've got your back up against the wall, just dying to be rescued
Never love anyway that won't do you right, it's always got to feel good
You look a little nervous, tell me what's the worst that can happen?
There's no need to worry, rules don't apply when we're just dancing
And if the person you came with has got nothing else to say
I think you should come on over, tell them get out of your way

Stop. Don't look his way because your "Romeo" just let you slip away.
So, stop. Now we're face to face, do you wanna play a little game of heartbreak?

There's no point in hanging around, come over and put your best foot down
Oh, don't you want to come and dance with some danger?
Bet he thought it was in the bag, until his feet started to drag
Under the strobe light, we can be perfect strangers
He didn't have much to say, that's too bad, guess I'll take his place
Tonight I think we're gonna be silly little heartbreakers

Oooooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh
Oooooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh

Just tell him that he's so damn boring, never let him bring you down
No longer have to sit with him in the shadows, tonight you're stepping out
He can keep his seat and lukewarm beer, let him do what he wants to do
Think that it's about time you take a chance and try something new
I could give you a little taste but I know you'd want so much more
He can try his best to save the day but he's always coming up short

Stop. (Oh, stop!) Don't look his way (Don't look his way) because your "Romeo" just let you slip away.
So, stop. Now we're face to face, do you wanna play a little game of heartbreak?

There's no point in hanging around, come over and put your best foot down
Oh, don't you want to come and dance with some danger?
Bet he thought it was in the bag, until his feet started to drag
Under the strobe light, we can be perfect strangers
He didn't have much to say, that's too bad, guess I'll take his place
Tonight I think we're gonna be silly little heartbreakers

Oooooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh
Oooooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh

This is what will happen if you don't pay them attention
All the money in the world cannot buy any affection
No, I'm not going home, we're swept away with the beat
Tell him to call a cab because tonight I'm giving you what you need (what you need, hey!)

Stop. Don't look his way because your "Romeo" just let you slip away.
So, stop. Now we're face to face, do you wanna play a little game of heartbreak?

There's no point in hanging around, come over and put your best foot down
Oh, don't you want to come and dance with some danger?
Bet he thought it was in the bag, until his feet started to drag
Under the strobe light, we can be perfect strangers
He didn't have much to say, that's too bad, guess I'll take his place
Tonight I think we're gonna be silly little heartbreakers

We're heartbreakers tonight. Heartbreakers tonight.
Boys will be boys for life. Heartbreakers tonight.
You're sitting pretty tonight. Sitting pretty tonight.
Boys like the girls, that's life. Sitting pretty tonight.
Heartbreakers tonight. Heartbreakers tonight.
Boys will be boys. Boys will be boys. Boys will be boys.
Hey!

Can Be Compared To:

Artist: Weekend
Title: How It Ends
Length: 3:59
Genre: Rock Pop
Written By: D.Blue, B.Khan, S.Wellington
Produced By: run
From The Album: About Time

Background
"How It Ends" is a rock/pop ballad performed by Weekend and written by members; Dustyn Blue, Billy Khan and Scott Wellington. The ballad is the lead single from Weekend's upcoming sophomore album. It is rumoured that the original title of the album, 'Wild Young Free' will undergo a change. Weekend postponed the release of their second studio album as they decided to take some time out to focus on their family lives. During their time away from the forefront, a promotional single titled Out Of My Mind was released in summer 2013. Since How It Ends serves as the lead single, the promotional track Out Of My Mind will not appear on the album. How It Ends was written in late 2013 and was produced by English trio, run.

The song is about having a great relationship with a female friend but after years of being close, you find yourself wanting more. The female in the song is already involved with another guy but it's made clear that things are rocky between them as she constantly turns to her male friend for comfort. The boys take on the role as this friend. Seeing how unhappy she is at times, having strong feelings for her and already having a strong bond, they decided to tell the truth and confess their feelings. While the girl rejects the offer, she states that they can still remain good friends but the boys have their doubts. Confessing something on this scale is bound to change things and while they can both go on pretending that nothing happened, at the end of the day they both know that they see one another differently. People have branded the song as "the friend zone anthem" and it has also been praised for being the most "mature" sounding song to be released by the group.

Vocals
Oscar - Oscar is featured prominently throughout the track just like the majority of Weekend's songs. He opens up the track, singing the first verse in his deep, husky vocals. While Oscar's voice is known for being very strong and powerful, in the first verse he sounds rather fragile and hurt. His tender voice has a slight edge to it due to his throaty vocals. While all of the boys sing in the chorus, Oscar's (alongside Riley's) vocals are easier to pinpoint. In the chorus, we can hear the real power in his vocals and it contrasts greatly with the softness in his first verse.

Dustyn - Dustyn follows on from Oscar, taking on the second verse. His voice is similar to Oscar's as they are both deep and throaty however, Blue's vocals are richer and his Irish twang can be heard throughout. Despite having similar tones with Oscar, nobody can mistake the unique vocals of Dustyn Blue. Many people have stated that his voice has matured greatly since the first record and while some adore his bluesy, husky voice, a lot of people find that it grates on the ears. However, he tones it down on this track and keeps the vocal acrobatics to a minimum.

Billy - Billy is also prominent on the new single. His silky voice may not be as strong as that of Ward and Blue but many have dubbed him as Weekend's secret weapon and that he "sprinkles sugar over the songs". The song starts off with two very deep, gruff vocals but as it approaches the pre-chorus, Billy comes along with his smooth, dreamy voice and caresses the listener's ears. He also takes on the bridge in the song which, apart from the chorus, is the most vocally challenging part of the song, involving a lot of belting. Billy's voice has really grown from the first album as he can now take on a lot more challenging notes and features in songs a lot more than he used to.

Riley - Riley takes the third verse of the song and like the first two, he sings as though he is in a very fragile state of mind and is close to tears. His voice is naturally higher than the others so when his verse comes around, it is an octave above the previous two. Many have said his voice rather nasally and too high pitched but here, although still higher than the other boys, he still manages to tone it down and sound hurt while delivering his lines. Also, in the chorus, his vocals can be easy to pinpoint as he does the high harmony throughout.

Scott - Scott has always been dubbed as the least vocally talented and while his voice may be thin, Scott has a lovely tone and knows his limits vocally. His voice is naturally soft sounding and he sings in a higher register like Riley although having a smaller range. On the first record, Scott received the least solos which was possibly due to his voice not being as strong as the others. Despite his vocals becoming slightly stronger, he still sings less than the others on "How It Ends", having only two lines.



I'm over here. I'm over here, why can't you see me?
I'm calling out. I'm calling out, why can't you hear me?
I've watched him break your heart
I've picked up the pieces each and every time
How could you say he loves you better than I can?

Do you know how I feel? How I feel when you turn away
Let it all out. When you let it all go, I'm your shoulder to cry on
You say you want someone just like me
Someone you can turn to no matter where or when
I'm standing right here yet you look right through me

He can never love you like I do, hold you like I do
When all goes wrong who is the one you run to?

You say that we should just stay friends
But we both know how that story ends
We could try to carry on and play pretend
But things will never be the same again
I poured my heart out now I don't know what to do
The silence is deafening, guess it was the wrong move
I could lie, smile and say I'm happy just being your friend
But as time goes on, we both know how it ends

I see you with him. I see you slow dancing under moonlight.
I'm in the corner. Back against the wall, still I'm glad to see you smile.
While he gets to be the one who takes you home
I'll be the one who is still dancing all alone
Do you know the way it feels when I see you leave in his arms?

He will never understand like me, bet he can't even kiss like me
I'm so wrapped up, I've fallen in too deep

You say that we should just stay friends
But we both know how that story ends
We could try to carry on and play pretend
But things will never be the same again
I poured my heart out now I don't know what to do
The silence is deafening, guess it was the wrong move
I could lie, smile and say I'm happy just being your friend
But as time goes on, we both know how it ends

Many times before I couldn't find the words to say
But now here I am, I want you to stay
Stay the night inside my arms
You say that a real man is hard to find
But I think I've proved myself over all this time
One chance, we can change how the story goes

You say that we should just stay friends
But we both know how that story ends
We could try to carry on and play pretend
But things will never be the same again
I poured my heart out now I don't know what to do
The silence is deafening, guess it was the wrong move
I could lie, smile and say I'm happy just being your friend
But as time goes on, we both know how it ends

Can Be Compared To;