samuel taylor coleridge wrote the song the very thought of you.
who wrote the song the very thought of you?
samuel taylor coleridge
Na
Na
mercedes featured in three of the episode's musical numbers. flandez said of her solo, "she blew jennifer hudson's 'spotlight' out of this world." benigno wrote that it was "great", but added that it was "not much of a stretch for amber riley to hit this one". berk praised her "amazing voice" and gave the performance four stars out of five, and goldberg characterized the rendition as "flawless". other reviewers were more critical, including vanderwerff, who said that this was the only song in the episode that "really didn't work". slezak felt that the arrangement used was not distinct enough from the original, though he gave the performance a "b+", as did west, who wrote, "mercedes looked fantastic and carried herself well, and her voice was as strong as ever but it felt a little lacking." in her "maria-off" with rachel, benigno said they "both kill it", characterized it as "easy but fun", and gave it an "a−", as did slezak and west, the latter of whom "didn't feel that mercedes was the clear winner" but thought both singers were "fantastic". kubicek thought that "mercedes clearly won" and flandez maintained that she "clearly outshone her rival", and continued, "you just believe so much of what she sings." berk agreed, and contrasted the two singers with his rating scale of one to five stars: "two stars for rachel, who sang this like barry manilow; four for mercedes, who sang this like she lived it." futterman had a slightly different take: "rachel puts on a diva front, but inside she's scared and nervous, while mercedes is just a diva." however, hyman thought that the two "were evenly matched", while canning and "billboard" rae votta both thought rachel was the victor; votta stated, "while the show wants us to believe otherwise, rachel clearly outsang mercedes". "it's all over" from "dreamgirls" received the most enthusiastic commentary, including an "a+" from west, who wrote "mercedes was at her best in this performance", a sentiment echoed by benigno when he awarded the song an "a". hyman called it "pretty awesome" and flandez a "cleverly amusing take", while futterman said mercedes "fully embraces her inner effie white" and that the song was "on par with the best of glee's broadway songs in terms of plot relevancy and vocal arrangements". she also praised "the first group showtune the new directions have done" and added, "we want more". votta characterized it as "a flawless fantasy homage" and stated, "it's the perfect use of the non-realism of "glee" and the power of musical theater to express a storyline". kubicek agreed it was "like a real musical" in these regards and praised mike's short solo, and west liked the segment where santana confronts mercedes in the number. slezak was not enthusiastic about the rendition, and wrote that he wished that the "scene gelled better than it did", and questioned why mercedes was the character effie while all the other members of new directions were themselves. he gave the number a "c+".
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