The press release suggests that we should ‘imagine Karen Carpenter with the sensual disposition of, say, Nina Simone, or perhaps Joni Mitchell with the bedroom eyes of Alicia Keys’ – the result being ‘a wonderfully catchy dance-op track.’
What this actually means is that Holly is a generic easy-on-the-eye blonde with a generic easy-on-the-ear singing voice who provides a vehicle for overproduced, instantly-forgettable generic chart pop slop.
The fact of the matter is that ‘Down to One Kiss’ is so mundane I can’t bring myself to get worked up about it, in any way shape or form. There's little point in making comparisons for there are simply too many: this kind of stuff really does come two a penny. It’s an exercise in mediocrity, blah blah blah, and as such the most it elicits is sense of indifference. I don’t blame Holly, of course, I blame the machine.
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