The Sugababes Discography Rate

@beyoncésweave your One Touch overview thingy is potentially my all-time favourite post on this forum. Every word is beautiful in the way only absolute truth can be xx

I'm kicking myself daily that I didn't take part (I was only properly familiar with the first 3 albums and couldn't commit myself to the rest at the time) but what a wonderful way to explore the rest of their discography this rate has been. Thank you, one & all.
Oh my, that is stupendous praise. Thank you very much; it really means a lot.

I'm gutted you couldn't take part as well! But it's totally understandable. And yes, it's certainly worthwhile delving into the rest of their discography, Taller In More Ways and Catfghts And Spotlights in particular. I did wanky writeups on each album (collated here, alongside other assorted pieces) if you wanted some framing on them. And do follow along as we dive head first into messier waters!
Also @beyoncésweave can you stop with these amazing graphics - some of us have to follow you!
Each day I ask myself, how can I be even more extra than yesterday? Then I fire up Photoshop.
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This next elimination is the last track without any 10s – that's right, every track from here on has at least one 10. I'll leave you to make your own assumptions.



More Than A Million Miles
Score: 6.532
Highest: 9/10 x 5 (@P'NutButter, @kal, @AlexD, @marie_05, @cryctall)
Lowest: 2/10 x 1 (@Uno)
My score: 7/10

Oh, not sure y’all got this one right, but it’s understandable as one of Angels’ first cuts. The cellphone interference sound guitar strum is a nice base to work with; the songwriting is generally pretty tight, and the harmonies are super on point (especially on that fantastic bridge). This does suffer a little from feeling a little cobbled together, particularly on Keisha’s odd little toasting middle eight, which is actually rather enjoyable but comes off as a little random. I wonder if this suffers because it doesn’t inject enough energy to the end of the album as it winds down, with this sort of mid-tempo lazy afternoon bops all melding into each other (“Just Don't Need This”, No Man, No Cry”, “Switch” in a stretch before this).

Solenciennes (4) is exhausted: “at this point, I’m just willing the album to be over and done with – it’s pleasant enough but it’s a bit of a non-event and this sums up my problem with this album; it’s cohesive, yes, but the production on most of the songs is dated, the lyrical content is so specific to teenagers going through the throes of puberty and where the songs aren’t immature, I find they’ve covered the ground better either on the first album or subsequent albums. Keisha’s spoken bit (rapping? toasting? Keisha-ing?) once again feels like an insult to her capabilities. The harmonies are tight, but that’s par for the course.” In that vein, hunties were mixed on Kiki’s rapping prowess, many bringing up former Misteeq member and current Britain’s Got Talent seat warmer Alesha Dixon repeatedly.

Lost In Japan. (5.5) finds “Keisha giving us a retro moment of Alesha Dixon whatever on the middle eight,” while acl (7.8) likes “the beats in the chorus. I actually kinda like Keisha’s rap though Alesha Dixon does it better.” Meanwhile the rapping Does Nothing for P'NutButter (9): “Apart from the Alesha Dixon rapping, I love this.” OTOH, “Keisha’s rapping is the only reason this has gotten such a high score from,” Voodoo whose high score is … a 7. Blayke (7) also stans the elusive rapteuse Keisha “like the vocals in this but I never quite loved this song and I’m not sure I ever will. Keisha’s grime MC moment in the song is the highlight. Get it MC KiKi!” “A good song” for PCDPG means a 6.5 and which is also exactly what “all right but not particularly memorable” means for londonrain. “Off-beat bop,” beats kal (9), “Lovely guitar strum and a very raw overall sound”. mrdonut (6) also “Loves that guitar riff”.

Ironheade (4.5) is a bit bleary about this: “Uh… this is, yeah, it's that song… hm. OK, I hate how they process the acoustic guitar and shove it into those weird whiny noises, it's irritating as all arseholes. The vocal melody is awkward and won't stop tripping all over itself, the drum machine is slight and cardboardy (though the fills on a more organic snare to add an intriguing element of rhythmic complexity to it), and the vocal harmonies do their level best to bring things back, but can't. Then we get to the bridge where Keisha attempts toasting. Whatever you're trying to do, sis, please don't. At least it has more interest and effort in it than anything on Sweet 7, but you could call this their worst pre-4.0 song and I wouldn't bat an eyelid.” Not when “It Ain’t Easy” and a large part of Change exists, precious! DJHazey (3) is DISPLEASED: “The production is a COMPLETE MESS and prevents me from ever giving this song a fair shake. I've never made it to this feature before, but it just adds to the disaster.” “At first it seemed like just a bore, but it's actually painfully disjointed” for Chanex (3).

CasuallyCrazed (7.5) reminisces that “This song is such a throwback to 1.0, it would have fit right in on One Touch. The highlight is clearly when Gangsta Keisha pops up for that middle 8.” Meanwhile Remorque (7) goes in the opposite temporal direction: “Looking back, this was quite a taster for what they would bring to the table with Three, albeit a little less developed. It sticks out like a sore thumb on the album, but it would actually be quite a good bonus track to Three.” stopthestatic (7.2) goes to a completely different band “Reminds me of early Destiny's Child in parts.” “Guitar-led BOP!” screams Constantino (8), “This is all very JT via Mary J Bleige (sic) but I absolutely love the late-album vibes.” Candid footage of Constantino bopping to this. Filler (6) almost gets this confused with “Million Different Ways”: “Oh! This isn't the bhangra ballad. That's the other one with “Million” in the title. This is a different song. It's a bit rude isn't it? Well that's my commentary. Bye” BYE!

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