Going against the grain (aka Ripping up the fan "rule book")

I was thinking the same thing. But the structure and feel of JLT and DSMD are quite similar (to me): the drifting, talk-sing verses; the bassline; the tempo; the "sax"; the same kind of hook-laden chorus. Thematically, it's the "smug cat" returning to the abandoned lover, filled with regret. Which is the theme of As Good As New, now that I think about it. All that said, those registration numbers might hint that some work was done on JLT during the album sessions? I tend to be more pragmatic than optimistic, and even I think there might be a possibility that it could be unveiled this year.... #SnapOutOfItTony



Absolutely agree. It sounds improvised and rushed. For my taste, it's overused. I think it could work if it was used after second chorus as an bridge/middle eight/solo before bringing the chorus back in at full throttle to end things nicely. I wonder if they felt that, having lured the renowned musician into the studio, they had some moral duty to use it all? I think there are even some bum notes played? One more thing about JLT, is the tempo. B&B seem wedded to a slower feel. The dreamy na-na-na version  and the leaden Gemini version are both too slow, I think. The sax version feels like the right speed - even if the harmonies are a bit pinky'n'perky.

Getting back to You Owe Me One, I think the lyric is actually quite good - better, really, than JLT. I agree with clumsylikeaclown 's view here. For me, the delivery and arrangement are too playful. IMO, B&B abandoned this too early.