The Sugababes Discography Rate

We continue to sand down the edges...















































































#68

8_4_Good_To_Be_Gone.jpg


Good To Be Gone
Score: 6.894

Highest: 10/10 x 4 (@Sprockrooster, @Methyn Marquis, @Reboot, @supersoon)
Lowest: 1/10 x 1 (@etienne)
My score: 7.5/10
––

Oh, this one knocks, doesn’t it? There’s something really refreshing about the Babes going rock in a more explicit way than before. The guitar riff is all swingy, and aided by the pace and flow of those verses. Heidi and Amelle do the first one with this semi-repressed candour, and Keisha on the second one ups the ante ever so slightly. The middle eight is fantastic; Keisha’s power in carefully controlled miniature. The choruses make use of all three girls really well, and the harmonies trade off the riff very nicely indeed. This is a wonderful exercise in control, but you do wish the choruses exploded a bit more, at least with the last one (which the middle eight threatens to spark); the amped up harmonies are almost drowned out by the production. But the song never overstays its welcome, and is a fine little package.

“Good To Be Gone” was the other original song, besides “Easy”, to be on Overloaded. The rock edge comes from the band working with label-mates Orson, who also aided and abetted on “Easy”. This, however, is nearly at the top of the list of tracks they should have retained for Change. It performs almost no function on a Greatest Hits, particularly one subtitled The Singles Collection, and could have given its place to one (or more, really) of the singles up to that point that were omitted: "Angels with Dirty Faces", "Follow Me Home" (!), "Soul Sound" (!!) and "New Year" (!!!). Moreover, it would have added definite character to Change, especially in its latter half as the fizzy sugar rush of the first half fades. It would have particularly complemented “3 Spoons Of Suga”, and had they retained “Shake It” as well, would have made Change a particularly intriguing, and lineup justifying, dance-pop-rock affair, as opposed to the dance-pop-bland one it turned out to be.

Let’s start with Sprockrooster (10) who is bopping while being wrong: “Such a euphoric song with those dark lyrics. Harmonised to perfection and a way better single than 'Easy'. “The better of the two ‘Overloaded’ tracks,” says Jam (9) also incorrectly. kal (8) is a bit more judicious: “This should have been a single.”

Ironheade (8) is very complementary and one of a few to desire Change to go down this path: “Say this for the Sugababes, they don't believe in the principle of Greatest Hits New Tracks Filler. The stomping electro-glam beat and ascending four-note bassline are fun as anything, and the guitars have a surprising amount of actual crunch and grit. Yeah, strut down the street to this and feel like a cyberpunk protagonist from the early 90's! It does suffer slightly from a repetitious chorus and weirdly flat "Yeeeahhhhh" vocals (Amelle, your "yeeeeaaahhhh" game is not strong), but otherwise, good stuff, especially when Keisha really starts belting it out towards the end. Honestly, if more of Change had gone in a direction like this and "Easy", I think I would have been a lot happier with it.” Runawaywithme (7.5) was thinking exactly the same: “I really like the direction this goes in and I love all the girls vocals on it, the slinky and sexy production really suits them and I just live for dirty disco sex bangers like this. However the little voice in my head is fantasizing about how amazing Mutya would sound like here. I would love to see an album that goes in the direction of this and “Easy”.’ Solenciennes (7) also saw this as directions for improvement in Change: “the Arctic Monkeys leaning rock vibe was a nice switch up from them, Amelle got to display some of her own talents here and it would have been better if they’d kept this back for Change as I think this works quite well with About You Now, perhaps a few other rock tracks littered across it and they would have had a more cohesive sound for their fifth studio album.”

Many hunties noted different references packed into the song. Let’s start with the Goldfrapp. Over to mrdonut (7): “The legacy of Goldfrapp’s “Ooh La La” continues to be felt in this enjoyable enough, if not particularly inventive, bop.” acl (7.8) also frapps that “I really like it at first, the production is great, gets me going though it could do with some deviation as it gets a bit stale 2/3 of the way through. I’m sure it must have been noted that it’s a rip off of Goldfrapp and something else but I don’t really care about that as I’m blinded by my love for them.” I mean, it’s hard to avoid referentialism in pop, but I think the band does enough to differentiate this.

Meanwhile some of y’all were playing the desperate lady jumping through all of the hoops bwoy. londonrain (6.5) is mildly amused: “Okay. Not particularly exciting, but decent. Credit for the “Red Dress reference.” Chanex (7) also caught on: “I have to give it an extra half point for "some other red dress" hehe.” And here’s Blayke (8): “This should have been the first lead single with Amelle. It’s catchy albeit being a bit repetitive but it had some attitude and a great throwback to “another Red Dress”. Amelle sounds amazing on this song and she sounds completely comfortable and not like she’s trying to be Mutya 2.0.” Finally, uno (6) finds it “a fine song, but doesn't hold up when sitting amongst some of the best songs the Sugababes have ever recorded. The "Red Dress" nod is cute, though.”

Here is PCDPG (7) with a so miscellaneous reference: “I first heard this song during their Deichmann’s shoe commercials. [Ed: linked below] I loved Heidi’s opening verse but after that it gets a bit repetitive.” Constantino (5) notes “That was… a big build up for nothing, wasn’t it? It’s far from awful but it just plods along after the first chorus…” It also “lacks something?” for P'NutButter (7).

CasuallyCrazed (7.5) observes that “3.0 was never as “cool” as their predecessors [Ed: or than the red dress!], although this song is maybe the closest they came to that. Keisha’s middle 8 is amazing.” ssa (8) was also feeling likewise: “Love the middle-8 for some reason.” “Catchy,” intones Mina (8). Filler (8) does another stream-of-consciousness blurt: “It sounds like the slightly lesser sister to Easy that gets bunged on the greatest hits as a new track and is really good but not quite enough to get its own single release so everyone forgets about it and that's that. Oh that's what it is. Well okay then.” Okay!





 
Last edited:
Good to be Gone is much better than Easy. I quite like Mended By You too. Although I'm not sure what's left that I want out next.
 
  • Like
Reactions: kal

londonrain

Staff member
This, however, is nearly at the top of the list of tracks they should have retained for Change. It performs almost no function on a Greatest Hits, particularly one subtitled The Singles Collection, and could have given its place to one (or more, really) of the singles up to that point that were omitted: "Angels with Dirty Faces", "Follow Me Home" (!), "Soul Sound" (!!) and "New Year" (!!!). Moreover, it would have added definite character to Change, especially in its latter half as the fizzy sugar rush of the first half fades. It would have particularly complemented “3 Spoons Of Suga”, and had they retained “Shake It” as well, would have made Change a particularly intriguing, and lineup justifying, dance-pop-rock affair, as opposed to the dance-pop-bland one it turned out to be.

I'm quite glad they didn't include this or Shake It on Change. This has a good riff and feels like it's building up to something but it really needed a much better chorus than "Yeeeeah, so good to be gone, so good to be gone". Shake It's chorus is basically various ways of saying "shake it" and "let me see you work".

At least with Mended By You there were actual words in the chorus before they got to the oohs and aahs.
 

londonrain

Staff member
I'm beyond ready for more of Catfights to leave.

No Can Do
Beware
Sidechick
Nothing's As Good As You
Can We Call a Truce

All need to go before Top 50.

I'm very happy for the Catfights cull to properly kick off - but No Can Do, Side Chick and Can We Call A Truce are the three songs that actually deserve to stay the longest (followed by Every Heart Broken).

Nothing's As Good As You can leave now, though.

Given that we discussed Virgin Sexy before it went, and then we discussed Mended By You before it went, hopefully if we talk about Nothing's As Good As You enough then it will go as well.
 

Solenciennes

Staff member
This is about the right time for Good To Be Gone to leave the rate. Hoping we see off the weak 2.0 stuff soon, looking at you Angels With Dirty Faces, Obsession, Joy Division, Gotta Be You, Just Don't Need This...
 
Top