The Singles Jukebox

Again, we’ll be the judge of that.

[Video][Website]
[5.12]

Thomas Inskeep: Rudimental associate with a sound next door to Jess Glynne’s, and Disclosure’s as well — only not retro-house, but actually forward-looking, smart pop. Strong voice, great production, one to watch.
[7]

Anthony Easton: The percussion of this and the processed vocals make up for an ambivalent lyric and some bosh by the numbers production. 
[8]

Scott Mildenhall: Music for the online relaunch of an old-fashioned clothes catalogue, intending to signify that hey, we’re trendy now! But falling flat because there’s no substance to go with the posturing. Choruses may not be suitably blasé, but they’re certainly functional, and it wouldn’t have hurt to include one.
[4]

Cassy Gress: I’ve said this before, but vocalists whose syllables always fall a hair after the beat irritate me. Another thing that irritates me is bass lines that are deep enough that I hear harmonics more than anything else, making me wonder if the bass is in the wrong key. When I find enough pet peeves in a song, I assume the issue is probably just me, so in the interest of not being a whiner, she does sound sincere. Also, that “yeah, yeah yeah yeah” that floats behind the choruses sounds like a yowl when it’s in lower octaves, which matches the rough sex theme rather nicely.
[4]

Juana Giaimo: “Boy” meant for Anne-Marie a change of direction: she left behind the delicate vocals to instead be playful and ironic — to the point she might have gotten too close to Lily Allen. However, “Do It Right” is a definite sign of that change. It is catchy and features a strong voice with a precise rapping style in the verses — but you can still hear her falsetto as the backing vocals in the chorus. I think that in the future people will look back on  “Do it Right” as the song where Anne-Marie really began.
[7]

Edward Okulicz: Anne-Marie strikes one heck of a pose, but she doesn’t have one heck of a chorus. It’s not even an average one though it takes balls to try to buff it up by placing it over the tinniest harpsichord present you can get away with. It’s not without power though, because that “ee-yeah” in the background is rage-inducing.
[3]

Brad Shoup: Doing it right, this song suggests, is doing it measuredly. Her “Here”-style tug-of-war flow is suspended for those airy yeahs, which get even more protracted with the (terrible) pitchshifting. Meanwhile, that cod-harpichord pads away.
[6]

Alfred Soto: Sounding like Katy B after a couple of smokes, she charmed me until the chorus pulls some enervated bullshit with a Wham! rehash.
[2]