The Sugababes Discography Rate

I know we were warned and I'm not complaining but I'm having Suga withdrawal.
I was hoping we would get an update by now. My life is empty without @beyoncésweave
Yes at this rate we'll actually get the MKS album before we reach the top 10 of this rate.
The hunties are restless!

I do apologise profusely, and I totally understand your frustrations; it's not fun having a rate you're following slow down so much. I've tried to be upfront about the break as much as possible; it really is proving very difficult getting writeups done in between moving around a lot and travelling. Usual business will resume early January, for sure. Thank you all once again for your patience!
As a reward, here's a little something something. This one goes out to @LPMA, you ol' hatin' ass bitch!

Time for a Taller track to finally leave...



Joy Division
Score: 7.062
Highest: 10/10 x 7 (@Reboot, @supersoon, @Zar-Unity, @Blayke)
Lowest: 2/10 x 2 (@etienne, @AlexD)
My score: 7.5/10

Aw, this is a bit of a bop isn’t it? While Taller is overall a super glossy affair, this is the sort of thing that adds enough edge to keep it from verging into the bland. The production is kinda interesting on this, from the rock intro to the vague reggae influences in the verses to the chorus going all dance-y. They could have pumped up either of these though; the bombast of the intro somehow feels like it gets progressively dulled over time, and it all melds together in a slightly unfocused way. The mixing weirdly feels quite off. It nonetheless also very much feels like the kind of glossy nu-dance bop that would’ve fit perfectly on the first half of Change.

The best parts of it are first the harmonies, which are damn tight. Using them as a hook (with Keisha’s “yeah yeah”s) works really well; in fact, it might be one of their most harmony-heavy songs. The song’s other feat is, of course, the delicatessen line, which is all kinds of unexpectedly random amazing. The song is littered with similar lyricism, some which fall short, and some, like “As I'm facing your sidewalk trauma” come close. There's also that song title, whose reference of the post-punk band makes no sense (aside from a vague-ish sonic similiarity?). There’s a chord of imperious nonchalance going on here – the girls telling a random perv to step off – but it’s not immediately obvious as it’s not paired with the usual hard R&B production we’ve come to expect on such bops up to this point. Nonetheless, its rejection of objectification is ample proof that even by album #4, they were very much on brand thematically. It also provides a stark contrast to the likes of “Get Sexy", proving just how much of the band's consistent messaging was completely reversed at the end of its tenure.

Let’s start with those appreciating the specials at the delicatessen. mrdonut (7) enjoyed ha time at there: ‘“I ain't just a piece of meat sitting in a delicatessen” deserves to win some kind of award. What a time to be alive.’ stopthestatic (9) is also a sucker for a good cold cuts deal: “THE DELICATESSEN LINE. I unironically love it. Great song but it’s always sounded a bit shoddily mixed to these ears.” uno (7.5) is also stocking up on the chorizo and Kalamata olives: “That delicatessen line is forever iconic. I don't even find it as cringe-worthy as I probably should - it works!” “Genius lyricism,” concurs P'NutButter (9). Au contraire, acl (9) is missing the best part of the song: “The production on this is superb, the yeah yeahs, the chorus, the guitar and lo-fi scratching. Would score higher without the delicatessen.” Hmmph!

Ironheade (7) breaks it down and comes up disappointed: “Wouldn't it be great if this turned out to be a "Love Will Tear Us Apart" cover? (No.) I can kind of see what they were going for here, with all the different instruments coming and going and slightly blurred in the mix, but it doesn't quite pay off. On the one hand, we have the melodic dub bassline, echoey tack piano chords and frenetic filtered guitar churn. On the more negative hand, we have the goofy DJ scratches of the intro and the awkwardly watery synths of the bridge. Keisha leads amicably in the chorus, with a nice backing of silky harmonies, but on the other hand, the vocal melody is not particularly inspired. A brave experiment not quite firing on all cylinders. Shame, it really could've been great.” Constantino (7) also wishes it gave more: “Keisha sounds good and I love the harmonies that kick in later, I just wish it maintained the boldness of the intro throughout.”

Solenciennes (4) makes a quick dash through the deli but doesn’t even stop for free Sauternes samples: “my favourite thing about this song is that they managed to slot the word delicatessen into a pop song. It’s otherwise never done much for me, they sound fine enough on it but yeah, it’s not my thing.” Deborux (6) is like “amazing intro that leads to a dull song” PCDPG (5) once again comes out with a factual observation that sounds shady as hell: “Not a song I would listen to again for my enjoyment.” DJHazey (5) is not a fan: “Where did this disjointed thing come from? Bye.” BYE! “Filler,” fills in Mina (5), meanwhile the actual Filler (5) cries that “Let's not dance to this.” Shan’t!

Runawaywithme (7.5) is moderately pleased: “A nice little bop, not a highlight but it’s quite enjoyable and makes me feel nostalgic and a bit sassy. The guitars are nice.” Remorque (8.5) has “always loved the flow of this one. The girls sound as confident as ever, the lyrics make absolutely no sense but at the same time are fucking brilliant and the reggae-lite production makes it for me. And go to the girls for telling dem old mans to step away.” Boy stop! Step away! *cries in reggae*

kal (9) also stans: “This is very left-field and is a bit of a red herring on the album. Cameron McVey delivers some brilliant lyrical flourishes and the production is fire.” Interestingly, this and “2 Hearts” would mark the end of his work with the Babes. Chanex (9) finds that ha time on was all worth it: “Yet another amazing rediscovery. I had to look up the lyrics it's presenting such a complicated scenario and I'm of the unpopular opinion that the delicatessen line is kinda great. Although some of the other lyrics are awkward I love the overall sentiment: shutting down a catcaller who needs to go home to his family. More songs should be about this. Keisha and the propulsive beat really usher this one along.” londonrain (9.5) is also stanning ha heart out: “Back when this was released I used to have a year-end chart of songs that didn't get a single release, and was #5 for my 2006 list. The delicatessen line is amazing, and it has a great hook and great harmonies. This is a great example of the Sugababes' shift away from "cool", earnest lyrics to slightly more bonkers lyrics (which then gave us "Easy").” Well noted, as always.

“This one came really close to getting my 11!” admits Zar-Unity (10). Blayke (10) of course is bopping: “I love the intro and middle-8 to this song. Keisha is adlibbing for her life and she sounds amazing with Mutya and Heidi complementing her voice. I love the reggae influence in the song and how it doesn’t sound like a traditional pop song. I adore the background “oohs” during the chorus and pretty much everywhere all over the song.” Finally, CasuallyCrazed (9) kinda nails it: “Whatever Makes You Happy”’s stoned Jamaican half-sister. Could have sworn this was a Xenomania original, who else works a “delicatessen” into a pop bridge?” Who.mp3 indeed.

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Staff member
I love this song. #60 feels way too low for it, but on the plus side I'm encouraged by the number of people who specifically called out the delicatessen line (and the lack of zeros, which in this rate is something to be grateful for). There are plenty of songs that should have gone first, but at this stage I suppose it's always going to be someone's fave that goes next. (But seriously, "Unbreakable Heart", "Ugly" and "Sunday Rain" can go about now.)

Hope your trip is going well, @beyoncésweave! Thanks for finding the time to do this for us Suga-deprived hunties.

Blayke (10) of course is bopping: “I love the intro and middle-8 to this song. Keisha is adlibbing for her life and she sounds amazing with Mutya and Heidi complementing her voice.

Pretty much very Sugababes song in which Keisha is adlibbing for her life is improved by 30% as a result (and my scores reflect that).
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I squealed so hard when I saw this came back that my mum sighed and said, "She's lost control again!".

Anyway, this shouldn't have gone, at least it has some atmosphere. And all the people who don't kinda love the delicatessen line are dead souls. This part of the rate is an atrocity exhibition!