The Sugababes Discography Rate

Let’s add Ironheade to the same mix (2.5): “Initially, it tricked me into thinking it wasn't going to be terrible. The low-slung synth guitar and fuzzy bass have the promise of a stomper buried somewhere in them - could have taken a Black Cherry route, perhaps? Then that whiny robot-sung off-key chorus hit me in the face like a custard pie full of acid-spitting beetles. Plus, the mixing on this entire song is just so, so bad it's unbelievable, blurry and overcompressed in the worst way possible, with another slobber of unpleasant vocal filters to boot. It sounds like it was recorded underwater and farted on by a pod of whales. And the prechorus makes me crumple internally, as Heidi blandly trills her way through the big book of nursery rhyme melodies and surrenders all individuality.”
I keep coming back to read this. It's added years to my life.


Just Let It Go
Score: 6.894

And here’s
Robinho#1 (3) who, it must be admitted, has actually been very reasonable across the rate, which makes him losing his damn mind especially baffling and hurtful: “This is hands down the originals worst song. I hated it back then and the feeling has remained the same.”

A common assumption on this forum but for the a millionth time, I AM A GIRL. Spread the word!
@beyoncésweave - you mentioned you have travel plans in December - may I ask what the frequency of updates is due to be in the next few weeks when you travel? I'll be just wasting time until your heart and mind realises I am the one, I wont disguise my love for this rate, it's true I cant wait for the next update to be there!
My sincere apologies; it's been fixed. I generally try to use gender neutral pronouns for everyone unless I am certain of someone's gender; your avatar somehow convinced my brain you were guy, is all.

Now, back to your atrocious "Just Let It Go" score!

My thirst for TOP made you think that I was a guy. No worries thou. Tried to get the mods to change my name (something more feminine) but they ain't taking my requests.
@beyoncésweave - you mentioned you have travel plans in December - may I ask what the frequency of updates is due to be in the next few weeks when you travel? I'll be just wasting time until your heart and mind realises I am the one, I wont disguise my love for this rate, it's true I cant wait for the next update to be there!
I can't quite tell you an exact schedule until I'm there, precious, but hopefully at least a few eliminations a week? I'll try to keep things ticking along and for it to not grind to a complete halt.

In that spirit...



Score: 6.967
Highest: 10/10 x 6 (@etienne, @tylerc904 , @DJHazey, @marie_05, @Zar-Unity, @Blayke)
Lowest: 2/10 x 1 (@lalaclairi_)
My score: 7/10

There’s a tendency to see Angels With Dirty Faces as the singles plus all filler. “Switch” is a very effective rebuke against that. There’s something effortlessly playful about this. The lyrics and the arrangement are watertight – describing using a guy and then discarding him when he gets boring with just the right flavour of élan. The production ably assists, the synth clipped to the drumline is maddeningly ear-wormy. Vocally, the girls are fantastic (though Heidi is still finding her feet a bit). What really elevates the song, and what the band was really making a trademark by this point, are the harmonies and adlibs cascading across. The chorus in particular is an irresistible affair with Mutya and Keisha playing off each other, especially when it’s brought back a second time. The two really prove how versatile their voices were in suiting the garage sound perfectly. Bringing it together is that fantastic middle-eight, with its stuttering, slightly left-of-centre melody. And I know this is a really small detail, but I adore Mutya’s slightly exasperated sigh as the song starts. It leads into the synth so well. This sorta thing really harkens to 90s R&B girlbands; you can almost imagine it as TLC-esque, which can never be a bad thing. I just really love how it literally brings to life Donna Meagle’s motto: switch/itch/ditch. Brava.

Let’s start with CasuallyCrazed (5.5) who has some faulty wiring: “Shit verses and really shit chorus, BUT WHAT A BRIDGE.” ssa (4) is still a bit itchy: “This isn’t doing it for me.” “So generic,” says Chanex (4.5) who really needs a new dictionary. mrdonut (5.5) deems it “Filler-esque but I adore Heidi’s verse”. An incorrect PCDPG (5) sits a touch lower: “Awkward lyrics and sounds like an album filler.”

Promiscuous girl kal (7) calls it “An anthem for promiscuous teenage girls, if you ever heard one. I love the build up to the chorus.” Remorque (7) is full of mixed feelings “Another one I never really listened to when I first got the album, but it’s not a bad song, really. The verses aren’t that good, but the combination of that bridge and chorus are quite great. It’s not the sound I really need from the girls, but at the time this was their “thing”, I guess…” “Catchy, but nothing too exciting. A nice album track,” says a measured uno (7). Constantino (7) also enjoyed the middle eight: “This… is cute, actually. With such a suspenseful middle 8 I was expecting a bigger chorus but it’s still a bop.” acl (7) is also intermittently praiseful: “I like elements like the intro and the beats in the middle 8 and the final chorus. some of the lyrics are kinda fun”. Filler (7) meanwhile intones that “They're no Ashanti”. I mean, thank god, right? Candid footage of Filler listening to “Switch”.

Solenciennes (8) is bopping while still bitter about “Virgin Sexy”: “definitely one of the more exciting album tracks, the chorus is joyously dismissive. Mutya leads the sass and the chorus embodies that sexual awakening they explore throughout this album. A necessary step in the evolution of their image, but it’s mortifying for an adult to listen to. This song does it better than dross like Virgin Sexy at least.” Ironheade (8) is another admirer: “The third in the album's trio of quirky garage-synth tunes, and what a capper it is for them too. The organic sounds of the guitars are allowed to come through, even while they're being contorted and edited all over the place and pushed into a quasi-reggae choppiness, and there's a true moment in the chorus as the leads in the left ear spark against the throbbing synth bassline. Heidi still sounds like the filler member, unfortunately, but she's ably propped up by Mutya and Keisha, who both weave their way through the tight arrangement gracefully to drop all the attitude they can on us. Effortlessly catchy, complex and busy without sounding too overstuffed, what's not to like? (The stiff 2-step drum machine and the goofy DJ scratches in the bridge, actually.)”

“A guilty pleasure,” purrs Mina (9). londonrain (9.5) is also stanning: “Possibly the most R&B song on the album, and I love it. The attitude and harmonies on this are great.” Runawaywithme (7.5) is ready to stan: “COME THROUGH WITH ANOTHER SASSY BOP QUEENS. The build up to the chorus is brilliant and gets me so “hype”, I hate that word.”

Blayke (10) makes a neat connection: “I consider this to be a relative to ‘Supernatural’. It’s pop and fun with some nice moments from the girls. I don’t have a lot to say about this but Mutya’s opening line “he’s nothing special don’t need his dose. Settling down what is that a joke? You’re feeling his best friend. Your ex bores ya coz he started to ignore ya” is that “EDGE”- So much sass in that delivery.” tylerc904 (10) calls it “Single material, though I think the four singles were perfectly chosen. A straight up bop.” I’m not sure I’d agree that all four singles were perfect (cough*”Shape”*cough, oop!) but it is true that Angels probably had the best singles run of all their albums. Finally, we have DJHazey (10) who is bopping for his muthafuckin life: “I mean, if you're not bopping uncontrollably then GET OUT! Perfect buildup + hooks galore = R.I.P. me.” Someone check up on him.

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Switch is still a lit of fun but I cannot say it has aged the best. Same with many tracks on Angels - I guess you have to be of that age to still find those songs relatable where One Touch is a little more timeless?