The Sugababes Discography Rate

I have always imagined a video for Now You're Gone as something similar to Spice Girls' Goodbye. So dramatic. Heidi's voice in verses is rather weak though.
I don't think they are, there are a few close ups in this video here during her verse -

And yes I'm also posting this so people can remember how lovely the song is AND to remind them of how horrendous Keisha's spring look was.

Is there anything that Keisha doesn't hate? I swear I keep reading about Keisha hating something Suga-related. But yeah, that look was not good.
@beyoncésweave I've been reading through the write ups of songs that have left us and I've noticed...


Vocally it’s pretty fantastic; the harmonies, particularly for an early 3.0 song, are very on point.


The others are reduced to the bridges, and the quite brilliant (especially for Change) harmonies.

The vocals are perfectly fine, particularly the harmonies for the nascent 3.0

I see you and your hidden love for Change girl, let it out, embrace the 3.0 harmonies.


At the time it was pretty difficult not to see this in light of Mutya leaving, which added an extra poignancy - and frankly I wish they'd released this as a single instead of re-recording "Follow Me Home" (which is a beautiful song but was always slightly too low for Amelle).
Yeah, this definitely should have been the single instead of "Follow Me Home", especially given the hack job they did with the video for the latter. The poignancy you mentioned would really have recreated a "Goodbye" style sentiment, as @Lapras noted. They could even have used the same winter-y set from the photoshoot I grabbed the song cover from!
How did Change (the song) get this far? It's quite bland, isn't it? A lot of the eliminated songs are so much more interesting.
I think it's a combination of the single effect and its deceptively great high points. I always think it's a rather bland and basic song as well (that Apple sound effect ΝΝΝ) but then that chorus always knocks me out.
@beyoncésweave I've been reading through the write ups of songs that have left us and I've noticed...

I see you and your hidden love for Change girl, let it out, embrace the 3.0 harmonies.


Haha, I really don't mind Change. It's just that even for a band that was finding its feet at the time, the album was below their capabilities and less than what they deserved. And the more interesting and accomplished material they produced around that time really shows what a better album they could have made. That's all.
As much as I admire the writing of lots of the other forum members, I'm enjoying the specific style and consistency of this particular rate so much that anyone else coming in would either be a jarring departure or would be desperately trying to keep up with what you have in mind, @beyoncésweave. I would rather have a slightly slower elimination speed than have a line-up of guests playing the Amelle to your Mutya.
This was a lovely thing to say.

Next to go is our second of four title tracks.
Next to go is our second of four title tracks.

"Angels", "Change"... couldn't remember what the fourth one was, until I remembered that "Ugly" had a Taller in More Ways namedrop in it. None of those should have gone after "One Touch" (still bitter over here!), but out of them, I hope it's "Ugly".



Angels With Dirty Faces

Score: 7.392
Highest: 10/10 x 4 (@Voodoo, @Island, @SmashHitter, @roux)
Lowest: 2/10 x 1 (@HRH)
My score: 8/10

The title track on the Babes’ second album is such a bop. Part of the album, and the band’s, efforts to convince audiences that they were freakier lil’ things than they appeared, the song goes on the nose with the lyrics, reappropriating the title of the 1938 gangster drama. And it works. The bubbling, slinky bassline powers the song through Keisha and Heidi’s fastsung verses. The acoustics on the bridge trick you into thinking this will become a light and airy summer mid-tempo, except the chorus turns out to be a knockout of harmonies and superbly fast-paced singing at your face, across the table over coffees in the morning, just before they pack up their stuff and leave. The harmonies used for the backing line are fricking fantastic, especially with the sung “you don’t know”s sinking into them. The middle eight doesn’t quite match up, MC Keisha still not quite up to par. But Mutya steps into pull the song into a fantastic final chorus where her insistent delivery really underscores her role as the powerhouse of this, and indeed of the band at the time. The song has this great energy to it, and anchors the album quite well as it transitions from the upbeat to the more laidback jams.

CasuallyCrazed (6) stays pressed and stationary, “While I always respect and admire the Madonna Whore narrative, this doesn’t really take me anywhere.” Resident Xenomania expert P'NutButter (6) is not impressed, “One of Xenomania's most bland tracks”. ssa (5) is full of hate! “Hate the album title, hate this song’s title, hate the video.” Take it easy, gorl. Hatin’ ass Solenciennes (4) is “not a fan of this song but the Powerpuff Girls video is a nice tie in, if a bit random. The chorus is catchy but I find the lyrics a bit clumsy and the rest of the song doesn’t really have anything going for it to grab my interest. Of course they manage to shoehorn the word freak in here, they were obsessed!”

Like a worker drone in Caesar III heading out from the an industry to a residential zone to activate employment but making a wrong turn, uno (6.5) frustratingly doesn’t quite get there, “Sounds like it could've been on their first album. Definitely not a bad song, but not exactly exciting.” “It definitely captures a mood even though it's far from perfect,” says Chanex (7) without elaborating on said mood.

mrdonut (8) reminisces that “I’m not sure it was (double A side) single worthy but this always sounds better than I remember it being. The “you don’t know” harmonies in the background of the chorus are magical.” VivaForever (8) brings up… Vicky B in my rate! “’Not Such an Innocent Girl’ did these lyrics better.” Yeah, but Posh could muster up about half the sass of Heidi in this, honestly. Sprockrooster (8) goes through the Powerpuff Girls roster, “I wish I was Buttercup, but I am way to insecure for that. So Bubbles it is? I ain't that sweet though. Blossom it has to be. Am I leader though? No. Damnit. I want to be a powerpuff girl. Amazing show and even more amazing the Sugababes used that series as a platform. Making me love them even more.”

“A really good song which actually still sounds fresh today,” says PCDPG (8.5). londonrain (8.5) also comes out swining, “Not as good as the other singles, but still a very good song. I'm a sucker for a quickly sung verse.” Ironheade (8) clocks the groove on this, “That bassline. Yeah, just really great, and the loose acoustic guitar arpeggios and sparkly synths of the chorus make for good bedfellows - this one has a real groove to it, much like the best of One Touch, where a lot of this album is a bit stiff rhythmically. The vocal harmonies in the big, airily catchy chorus are just great, but otherwise Mutya overshadows everyone, with a full, rich and attitude-laden vocal that's a joy to hear. Not sure about Keisha's rapping abilities, to say the least, but the groovy backbeat and processed cowbells prop it up well enough that I can't get too annoyed by it. Nice, simple pop song. Could've earmarked this one for single release, and I'd have been quite happy.” Well, you’ll be happy to know it was a single, boo!

Constantino (8) is once again knocked back into his comforter, “ΝΝΝ OK this is kinda fierce! The ‘we’re angels with dirty faces in the morning’ hook is so fucking clunky but otherwise this kinda hits the spot for me.” acl (8) is “surprised how much I like like this now compared to back then – likely because I don’t have to watch the video. I like Heidi’s verse and Mutya’s “move your heads to the beat” after the bridge is very nice with that bassy sound.” Blayke (8) is a sucker for band roll calls, “I love the intro. That’s probably the best part of the song for me. It’s one I enjoy hearing but it’s not a favourite of mine. The chorus is brilliant and Heidi really shines in this song. She sounds brilliant here. The middle 8 is also great with each girl slurring their line with their name echoed in the background. Mutya’s final “that’s what he said to me” is brilliant and was surprising considering she was singing so low on other parts of the album.” Filler (8) stans unequivocally, “The big iconic debut single theme tune lesser girl groups dream of – its testament to the quality of the Sugababes discography that this isn't even in their top 25 most memorable singles. Mind you, from the pronunciation of the names at the start, I did think for a long time when I was getting into them that there was a member called "Lateeya"” Methinks she was imagining the Destiny’s Child discards to have migrated to Sugababes?

Speaking of the D’Child, kalendria (9) sticks up for the song, “I have no idea why so many people hate this song. I have so many fond memories of the Powerpuff Girls themed video, the name checks at the beginning, the insanely quirky production, Keisha’s opening verse, the harmonies in the chorus… Honestly, it’s no wonder this is the album’s title track.”Remorque (9) loves them nasty, nasty gerls, “These girls were fucking nasty for a bunch of 17-18 year-olds, weren’t they? I fucking love them on this one. So much attitude and everything’s a highlight here. Keisha and Heidi are fantastic on their voices, Mutya gives it her all during her bridges and that short chorus sums them up perfectly. And am I right in thinking this was the first time Mutya let go on the ad-lib front? Glorious.”

Voodoo (10) gets to racking ha memories, “One of the first Sugababes songs I remember; it was on a Pop Jr CD I had like twelve years ago. I still really love this, and the video alone. Shook.”roux (10) throws a “9.5 for the song, and an extra 0.5 for having one of the best music videos of all time.”

You can catch the video below, a result of the song being tied into The Powerpuff Girls, and the show’s 2002 film. The song was released as part of a double A-side single (alongside “Stronger”), and probably as a result of the heavy promo, reached #7 on the UK charts. The whole promotional package is pretty neat, and as far as such overt commercial tie-ins go, made a lot of sense for the band.

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