Solenciennes
Staff member
Keisha. Mutya. Baphomet. Yoooouuuu don't know, where we go!
The Sugababes Discography Rate
- Thread starter beyoncésweave
- Start date
Keisha. Mutya. Baphomet. Yoooouuuu don't know, where we go!
eccentricsimply
Staff member
they/them
I didn't vote but I'm rooting for Push The Button and About You Now. Someone tag me if y'all do those two wrong!
Solenciennes
Staff member
Is binning off About You Now before the top 10 doing it wrong?
he/him
I don't think I'll be alive after the dragging @beyoncésweave gives me for my About You Now commentary.
eccentricsimply
Staff member
they/them
Yes.
he/him
Before Top 40? It's more like in Top 4.
Solenciennes
Staff member
You surely can't mean that.
Good lord, some of these ... opinions. Situation's Heavy? MAYA???
You just answered why I've scrubbed it from my mind.
he/him
Situation's Heavy really does need to move out like right now. Still feeling comfortable that it's going to happen @Solenciennes?
Solenciennes
Staff member
It's probably going to cling on for another ten places or so but I'd like to see it out before top 30, I feel like top 30 is the marker of the best of the best and Situation's Heavy is not among them, for me.
Push The Button needs to go before In The Middle.
Mr.Arroz
Staff member
he/him/his
Oh hell no.
londonrain
Staff member
Push The Button is one of the best full-on pop songs by any girl group, in my opinion.
The Sugababes have had cleverer, darker songs before, but as a proper pop song Push The Button beat the hell out of pretty much the whole pop landscape in 2005.
The Sugababes have had cleverer, darker songs before, but as a proper pop song Push The Button beat the hell out of pretty much the whole pop landscape in 2005.
he/him
What even is this?
Agreed. If we collectively did the right thing in this rate, it should be top 5.
And now these messy hoes are coming for “Push The Button”. Christ. Let me distract:
Bruised
Score: 7.493
Highest: 10/10 x 7 (@Solenciennes, @Voodoo, @londonrain, @Filler, @scottdisick94, @Blayke, @supersoon)
Lowest: 3/10 x 1 (@Methyn Marquis)
My score: 5.5/10
––
Yeah, I’ve found it a struggle to get behind this one. There’s such an air of … discordance about this that I find really unpleasant. It could be the “ta-duh” based vocal line running through it, or the distinctly unmelodic chorus which pulls up and down in a really basic way. I’m probably being a bit too harsh on it, as vocally it’s pretty accomplished, especially Mutya (really nullifying all the “she couldn’t be arsed with this album” charges) and Heidi, a weirdly jarring middle eight notwithstanding. The harmonies are also rather nice, being weaved through it in a neat fashion. The subject matter is potentially rather dark, going into allusions of actual physical abuse. Ordinarily that would be enough to tip it over for me, but I just find the tempo extremely unsuited for it? Like, someone thought it would be cute to do a domestic violence bop? ΝΝΝ I don’t know, all of that completes a very disquieting package for me.
Filler (10) is among a number of you who are struggling to say things about this, “An oddly perfect little pop song with a swooningly gorgeous melody and uncomplicated yet characterful production. I didn't think it would be a 10 going into the rate, but this must be among the very few songs, by anyone, I have surely never once skipped on shuffle. I have embarrassingly little to say about , but I can't imagine ever not wanting to hear it.” I can! Blayke (10) also hits that point where commentary is a struggle, “I love that they experimented with this song. Mutya’s verses and Heidi’s Middle-8 are the highlights of this song. I especially like how Mutya sings the second verse. Lyrically the song is very good too! I don’t think it’s a massive fan favourite though. I consider this song an experiment of sounds to make this happen.” Um wut? Uno (9) is right there with him, “I can't quite put into words why this song is a good one, but it is. Very good.”
Voodoo (10) triggers me with the hundreds of MKS snippets I’ve wasted my life over, “I can remember this, like, 5 second video someone posted on Youtube about MKS with a bit of the intro in it. I believed it was MKS, and got pure excited over it.” Solenciennes (10) always has a difficult time separating good from bad, so obviously fails again, “this one has grown on me a lot over the years after initially finding it difficult to get into. The lyrical content is an unusual choice, alluding to physical abuse in a relationship alongside heartbreak. They sound great and the beat’s hypnotic, the harmonies behind Mutya’s verse are solid and Keisha sounds brilliant on the bridges. “In a war with you” is an addictive hook, Heidi gets yet another brilliant middle eight and this is generally just a really cool song with a menacing undertone to it that hits that sweet spot they’d explored a lot with the previous album”. londonrain (10) keeps showing up this tasteless streak he’s found himself on, “I love this song. Effective use of harmonies in the chorus and good production.”
P'NutButter (9) details ha 12 year expedition, “This has grown on me over the years, could have been brilliant with better mixing.” DJHazey (9) at least owns up to his terminal basciness, “A bit more of a, dare I say, basic prechorus-chorus combo and I'm totally here for every second of it. What a breath of fresh air!” CasuallyCrazed (9) is probably feverish off the same stale air, “Such a forgotten gem, those harmonies are shiver inducing. Why is the mastering so bizarre though? Keisha’s vocals sound underwater.”Robinho#1 (9) overuses the words ‘criminal’ and ‘underrated’, “Criminally underrated. Often overlooked by listeners but it’s a solid pop piece.”
Ironheade (7.5) gets a bit too generous, frankly, “Alriiiiight, thankfully we're back on form now. The celestial keyboard tinkles and phased power-pop guitars provide an appropriately fey backdrop, with Mutya and Heidi in particular coming through nicely. It doesn't really modulate or go up and down enough, relying mostly on the harmonies to give extra impact to the chorus, but if it doesn't quite work like it should, it's still solid. The way the synths swoop across the musical landscape like stray comets is genuinely cool, and we get some incredibly fun 8-bit breakdowns (man, I want to play Defender now). And oddly enough… the verses are catchier than the chorus, to me, packing some fine Keisha-Mutya harmonies to boot, while Heidi remains reliable on the middle 8s. Like the lyrics too. Yeah, pretty good.” tylerc904 (7.5) once again tries to shade Taller, “A solid album cut. Maybe only standing out because it's on a rather weak album.” Chanex (7.5) stans anything on which Heidi screeches so of course likes this, “I barely remembered this one and upon relistening at first was like "meh...pleasant enough" but the backup du-duhs are insistent and by the time Heidi comes in I'm low-key jamming.”
Like the Tang Dynasty after the An Lushan Rebellion of 755-763 CE, Constantino (8) is devastated, “I love the chorus; their voices just blend so seamlessly together. Mutya really stands out here for me *gently wipes tear away*” I’m also crying, for you. acl goes through a word scramble to justify ha 8.5, “Excellent production, Mutya’s 1st verse is divine i love the lyrics and Keisha’s pre chorus is great, Heidi’s middle 8 is a bit story-time but is fine.”
“The most traditional pop song on the album. I find it hasn’t aged very well at all,” says a correct kal (7). Runawaywithme (7) is measuredly unimpressed, “A nice breezy bop but nothing particularly great, I think it has great potential and the lyrics are some of the strongest on the album but it feels a bit rushed and lacking in all the other areas.” HRH (7) has an enquiry: “I don't know why so many people hate this one.” Cos it’s shit, Jill.
PCDPG (5) has extremely high standards, “This song, along with Obsession, isn’t necessarily a bad song. However they both scream album filler and are nothing special.” Finally, mrdonut (5.5) pinpoints the album’s lull accurately, “This is where the album begins to lose me (that is until “Ace Reject” floors me)”. Yes, y’all really will be floored by “Ace Reject” and where it ends up…
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Solenciennes
Staff member
You're my favourite enemy @beyoncésweave I wanna hurt you like you're hurting me
This shouldn't be out yet.
This shouldn't be out yet.
londonrain
Staff member
WTF? NO. Incorrect elimination. Take it back.
Stop. Trolling. The. Ace Reject. Stans.
Stop. Trolling. The. Ace Reject. Stans.
Island
Staff member
And now these messy hoes are coming for “Push The Button”. Christ. Let me distract:
Bruised
Score: 7.493
Highest: 10/10 x 7 (@Solenciennes, @Voodoo, @londonrain, @Filler, @scottdisick94, @Blayke, @supersoon)
Lowest: 3/10 x 1 (@Methyn Marquis)
My score: 5.5/10
––
Yeah, I’ve found it a struggle to get behind this one. There’s such an air of … discordance about this that I find really unpleasant. It could be the “ta-duh” based vocal line running through it, or the distinctly unmelodic chorus which pulls up and down in a really basic way. I’m probably being a bit too harsh on it, as vocally it’s pretty accomplished, especially Mutya (really nullifying all the “she couldn’t be arsed with this album” charges) and Heidi, a weirdly jarring middle eight notwithstanding. The harmonies are also rather nice, being weaved through it in a neat fashion. The subject matter is potentially rather dark, going into allusions of actual physical abuse. Ordinarily that would be enough to tip it over for me, but I just find the tempo extremely unsuited for it? Like, someone thought it would be cute to do a domestic violence bop? ΝΝΝ I don’t know, all of that completes a very disquieting package for me.
Filler (10) is among a number of you who are struggling to say things about this, “An oddly perfect little pop song with a swooningly gorgeous melody and uncomplicated yet characterful production. I didn't think it would be a 10 going into the rate, but this must be among the very few songs, by anyone, I have surely never once skipped on shuffle. I have embarrassingly little to say about , but I can't imagine ever not wanting to hear it.” I can! Blayke (10) also hits that point where commentary is a struggle, “I love that they experimented with this song. Mutya’s verses and Heidi’s Middle-8 are the highlights of this song. I especially like how Mutya sings the second verse. Lyrically the song is very good too! I don’t think it’s a massive fan favourite though. I consider this song an experiment of sounds to make this happen.” Um wut? Uno (9) is right there with him, “I can't quite put into words why this song is a good one, but it is. Very good.”
Voodoo (10) triggers me with the hundreds of MKS snippets I’ve wasted my life over, “I can remember this, like, 5 second video someone posted on Youtube about MKS with a bit of the intro in it. I believed it was MKS, and got pure excited over it.” Solenciennes (10) always has a difficult time separating good from bad, so obviously fails again, “this one has grown on me a lot over the years after initially finding it difficult to get into. The lyrical content is an unusual choice, alluding to physical abuse in a relationship alongside heartbreak. They sound great and the beat’s hypnotic, the harmonies behind Mutya’s verse are solid and Keisha sounds brilliant on the bridges. “In a war with you” is an addictive hook, Heidi gets yet another brilliant middle eight and this is generally just a really cool song with a menacing undertone to it that hits that sweet spot they’d explored a lot with the previous album”. londonrain (10) keeps showing up this tasteless streak he’s found himself on, “I love this song. Effective use of harmonies in the chorus and good production.”
P'NutButter (9) details ha 12 year expedition, “This has grown on me over the years, could have been brilliant with better mixing.” DJHazey (9) at least owns up to his terminal basciness, “A bit more of a, dare I say, basic prechorus-chorus combo and I'm totally here for every second of it. What a breath of fresh air!” CasuallyCrazed (9) is probably feverish off the same stale air, “Such a forgotten gem, those harmonies are shiver inducing. Why is the mastering so bizarre though? Keisha’s vocals sound underwater.”Robinho#1 (9) overuses the words ‘criminal’ and ‘underrated’, “Criminally underrated. Often overlooked by listeners but it’s a solid pop piece.”
Ironheade (7.5) gets a bit too generous, frankly, “Alriiiiight, thankfully we're back on form now. The celestial keyboard tinkles and phased power-pop guitars provide an appropriately fey backdrop, with Mutya and Heidi in particular coming through nicely. It doesn't really modulate or go up and down enough, relying mostly on the harmonies to give extra impact to the chorus, but if it doesn't quite work like it should, it's still solid. The way the synths swoop across the musical landscape like stray comets is genuinely cool, and we get some incredibly fun 8-bit breakdowns (man, I want to play Defender now). And oddly enough… the verses are catchier than the chorus, to me, packing some fine Keisha-Mutya harmonies to boot, while Heidi remains reliable on the middle 8s. Like the lyrics too. Yeah, pretty good.” tylerc904 (7.5) once again tries to shade Taller, “A solid album cut. Maybe only standing out because it's on a rather weak album.” Chanex (7.5) stans anything on which Heidi screeches so of course likes this, “I barely remembered this one and upon relistening at first was like "meh...pleasant enough" but the backup du-duhs are insistent and by the time Heidi comes in I'm low-key jamming.”
Like the Tang Dynasty after the An Lushan Rebellion of 755-763 BCE, Constantino (8) is devastated, “I love the chorus; their voices just blend so seamlessly together. Mutya really stands out here for me *gently wipes tear away*” I’m also crying, for you. acl goes through a word scramble to justify ha 8.5, “Excellent production, Mutya’s 1st verse is divine i love the lyrics and Keisha’s pre chorus is great, Heidi’s middle 8 is a bit story-time but is fine.”
“The most traditional pop song on the album. I find it hasn’t aged very well at all,” says a correct kal (7). Runawaywithme (7) is measuredly unimpressed, “A nice breezy bop but nothing particularly great, I think it has great potential and the lyrics are some of the strongest on the album but it feels a bit rushed and lacking in all the other areas.” HRH (7) has an enquiry: “I don't know why so many people hate this one.” Cos it’s shit, Jill.
PCDPG (5) has extremely high standards, “This song, along with Obsession, isn’t necessarily a bad song. However they both scream album filler and are nothing special.” Finally, mrdonut (5.5) pinpoints the album’s lull accurately, “This is where the album begins to lose me (that is until “Ace Reject” floors me)”. Yes, y’all really will be floored by “Ace Reject” and where it ends up…