Amorosi from The Philadelphia Inquirer stated, "Like Joan Armatrading with a dab of Sarah Vaughn's sassiness, Small imbues the hookdriven "Sight for Sore Eyes" and "Drive" with a maturity that gives them sultry heft." A reviewer from Sarasota Herald-Tribune noted that the singer "delivers each song with the sort of soulful confidence that suggests passion without smothering the melody, an approach that underscores the pop appeal of tunes like "Sight for Sore Eyes"".
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James Hamilton from the magazine's RM Dance Update deemed it a "superb bouncily strutting steady loper". Alan Jones from Music Week gave it four out of five, adding, "This is a sturdy, bass-heavy house workout, with chiming synth strings and typical piano chords. Music writer James Masterton wrote in his weekly UK chart commentary, "Their first new hit single for over a year is in many ways something of a disappointment, albeit one that grows on you gradually." Pan-European magazine Music & Media said it is "instantly-recognisable". The usually haughty and controlled Small anchors the cut with a performance that pleasantly surprises with its playful tone." Kendall Morgan from Dallas Morning News concluded that "diva Heather Small has quite a voice", and she shows it off in "the big ol' gospel sound". Larry Flick from Billboard stated that it "kicks off the set with a rubbery, houserooted bassline, coated with a rolling piano line that is spiced with a tangy salsa twist.
The Italo house style is most punctuated during the middle-eight piano-break.ĪllMusic editor William Cooper wrote that the song has a "grandiose gospel-influenced intro before kicking into the funky groove", noting that the melody is similar to Technotronic's " Pump Up the Jam". This is underlined by subtle strings and big chords during the actual choruses. Like " One Night in Heaven", the melody line is guided by the deep Moog bass line, programmed drumming, percussion drumming and layered hi-hat synths and a four-to-the-floor house beat. In the chorus breaks, an Italo house style chord progression and sequenced bleeps granuliser synths lead up to the verses. The key refrain #"Ain't love, ain't love, ain't love a surprise"# is bellowed by Heather and then other key elements are introduced, most notably synths and a subtle allegro acenato (quick and accentuated) piano movement during the verses with Small's vocals more prominent than on previous singles.
The song starts with a gospel-esque 'harmonised' warm-up by the backing vocalists accompanied with a building piano with lead vocals by the unmistakable voice of Heather Small. The song was recorded at the Roundhouse in Chalk Farm, London. ( September 2011) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This section possibly contains original research.
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