Song Review: Brown Eyed Girls – Wonder Woman

Most of the world’s music industries were built on song covers, launching artists with performances of what many would consider standards. Covers (and cover albums) have lost their popularity in the digital era, but Brown Eyed Girls have tackled this approach for their new release, Re:Vive. It’s been a long four years since the group’s last album, and fans are right to be upset that Re:Vive doesn’t deliver any “new” material. But, if there’s one group that can make a modern covers album work, it’s Brown Eyed Girls.

First on the release slate is Wonder Woman, a re-working of the semi-obscure Joe Wonsun song. While the original pulsed with a bossa nova energy, Brown Eyed Girls have converted the track into a disco throwback. As such, it takes on a very different life. Its swinging performance style has been subdued into a breezy coo, giving the track a lithe, bubbly appeal. The focus here is on vibe over melody, which was probably smart. The original doesn’t boast much in the way of dynamic song construction, and Brown Eyed Girls have softened those already-delicate hooks.

However, the vibe the girls are able to project is certainly addictive. Wonder Woman’s production is immensely satisfying, nailing the hedonistic appeal of disco. I love the backing vocals. They glide across the track with a wonderful texture, and add a completely new dimension to the track. The percolating beat and insistent rhythm guitar pull everything together and act as the perfect compliment to the girls’ always captivating performance. Still, it feels like this is all a bit of a missed opportunity. So many of the right ingredients are here, but Wonder Woman is let down by the nonchalant nature of the original track. There’s just not enough foundation to grab onto, which limits the track’s overall potential.

 Hooks 7
 Production 9
 Longevity 8
 Bias 7
 RATING 7.75

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5 thoughts on “Song Review: Brown Eyed Girls – Wonder Woman

  1. Fine, but you asked…

    Sadly, it is a very, very bad “Doof”. In the other BEG review (Abandoned), I commented “Oof”. Combined, “Oof Doof” is a comment I use on occasion to denote something that is clearly a mistake or ill-conceived effort, that you acknowledge exists, but is not worth getting into a deep conversation about. For example, you’re pulling out of your driveway, I loudly bang on a trash can, you become startled and run over my foot; “Oof Doof”.

    Everyone deservedly gushes over SNSD, KARA, T-ara, but I rarely see BEG get the same amount of time under the spotlights. This is almost a crime as they have released some truly spectacular music. For example, their 2006 release, “Your Story”, had an unbelievable 21 tracks; some of which STILL give me goosebumps. Here’s a schmedley from that album:

    Watch Out (2006):
    Everybody (Feat. Bigtone) (2006):
    Hold The Line (Feat. Jo PD) (2006):
    Second (2006):

    A lot of people are familiar with their promoted releases (e.g., KILL BILL, Abracadabra, Sixth Sense, SIGN, Candy Man, etc.), but there are some truly resplendent tracks to be be plundered from their entire discog, such as:

    After Club (2013):
    I Want to Fly (2013):
    Mine (2007):
    You (2008):
    Lovemotion (2011):
    My Style (2008):

    So, I’m VERY familiar with what this group of talented ladies is capable of bringing to the mat. With regard to “Abandoned” and “Wonder Woman”, I, regrettably, abstain from commenting.

    P.S. You should’ve settled with “doof”.

    Liked by 1 person

  2. Or to paraphrase, so many years on its just not the same anymore.
    Everyone has a golden age, except for Cher who never ages.

    This one is OK. It could use less wordy sung bits and more beats. It is so wordy. Its got the disco wah wah guitar, but horns and trumpets would also help. A more kicking drum line. Walking bass. It could have been produced to the hilt, but all the time was spent getting the vocal right rather than the instrumental.

    So do you remember how U2 in their golden age had songs which were short sharp and punchy, Electrico – the verses are 16 bars max, the guitar is right at the front, New Year’s Day, Sunday Bloody Sunday, all are 4 bars x 4. Move on 20 or 30 years, and all the songs have verses with 16 bars spent on each line, times 4 or 8 lines, Bono going on and on and on. Its like that. Its just not the same.


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