The Sugababes Discography Rate

Solenciennes

Solenciennes

Staff member
Oh and I'd love to see a top 10 consisting of Ace Reject, Conversation's Over, Flatline, Freak Like Me, Hole In The Head, Overload, Push The Button, Run For Cover, Stronger and Too Lost In You. I don't think 4/10 of those are all that likely but I can hope.
 
beyoncésweave

beyoncésweave

Well, it was either Angels or Change.



























Turns out it is...
​




























image.jpg


2_2_Blue.jpg


Blue
Score: 7.594
Highest: 10/10 x 5 (@Methyn Marquis, @SmashHitter, @Zar-Unity, @Necessary Voodoo, @Blayke)
Lowest: 4/10 x 2 (@AllSixSugababes, @Aester)
My score: 8/10
––​

Ooh, this is a bop and a half. Being scrunched between the Babes’ garangutan #1s was a tough ask of any song, but “Blue” rises to the occasion with verve. The instrumental on this, with the pounding bass and elctro-industrial syths, is fantastic and anchors a menacing, irritable slinker. Heidi jumps in on the earliest example of her ice-cool delivery which Mutya picks off of seamlessly on the bridge before Keisha enters for that punchily acoustic chorus. She continues on the second verse, before going thorugh the bridge-chorus motions again. The cadence on this is really fast, which somehow works on the tempo switch between the verses and the choruses, even extending through to the middle eight where the spitting reaches a crazy register. Lyrically, the song thankfully doesn’t run with the colours theme too much, sticking instead to excorticating a deceitful lover with appropriate venom.

It’s a really neat package that betrays hints of where 2.0 was aiming to go at its nascence – in potentially grimy, even hip-hop-y directions – but still comes off as a really coherent and striking example of turn-of-the-millenum R&B. It’s skin-puncturingly catchy, but also very much interesting if you can keep up with it. For Angels, lacking huge amounts of energy outside of the two lead singles, this is absolutely essential. It also completes that exemplary four song initial run without sticking out much at all as a non-single.

P'NutButter (8) finds it “So odd this is placed between the two huge singles, but I love that.” Me too, really. Filler (6) on the other hand, finds the spit-roasting to its detriment, “I mean, nothing is going to sound too special sandwiched between the outro of “Freak like Me” and the opening chorus of “Round Round”, is it? Tough gig.”

Some of y’all loved MC Quiche. tylerc904 (6) claims that “the Keisha rap/breakdown is fun.” Remorque (9) is even more adulatory, “I’ve always loved this one, though I’ve always been glad it was never a single either. It’s quite dark underneath the pop sensibilities on the surface and Mutya and Keisha’s cold, but sassy rap during the middle 8 is definitely the highlight here.” On the other hand, I think this could’ve been a fairly decent fourth single (over “Shape”).

Meanwhile, kal wanted Mutya to sing to him instead, “you are the fool, ‘cause you lost me.” - Mutya Buena delivering the cold hard truth. The synths on this song are insane. The double chorus is a nice little treat and I love that this continues the gritty, dark theme set up by “Freak Like Me”. The only reason I’m not giving this a 10 is because of the awkward ‘rap’ part which brings it down to a 9.” Solenciennes (7) just needs to commit, or get off the pot, really, “while I think this is very cool and works well as a follow on from Freak Like Me, it’s never been a song I’ve ever had a thing for, I’m not really sure why. While Keisha wasn’t given too many moments to shine on their first album, I do feel like this marks the point where Keisha was given all the talk-sing bits and left very much in Mutya’s shadow. Are they singing “I can’t be assed” in the chorus or is this another butthole tight moment? Curious.” I think it’s “I can’t be asked”.

mrdonut (6.5) is undecided, “I can’t decide whether the sudden change in tempo makes or breaks this” It makes it. PCDPG (5.5) is the first to find something on the off-season rack, “It sounds very dated and not something I would listen to when I’m not listening to the full album.” “Good, but doesn't leave any lasting impression on me,” is enough for a 7.5 from VivaForever.

Ironheade (8.5) once again deconstructs the song to an inch of its life, “Gets off to an amazing start with that throbbing 8-bit beat and sleazy wah-wah guitars set against Heidi's sweet vocals - one of the most audacious and inventive production touches on the album, and it only gets better from there. Not to mention, a great vocal melody, with Keisha and Heidi getting their teeth round the rhythm nicely. The peppy hook and acoustic rock strums don't clash with the verses nearly as badly as they should, and the elegantly forboding crooning in the prechorus builds up to the chorus excellently. Then you get to the bridge… almost grime-sounding (and a year before "Eskimo", too!), with some surprisingly skilled motormouth vocals from Keisha and Mutya. A bit of a link to the 1.0 era, perhaps? Well, it worked for me.” Hmm, yeah, it kinda exists in that One Touch B-side meets Angels pre-production meeting at Island Records zone, which is a fantastic space to be at.

Robinho#1 (8.5) thinks it’s a “shame that the chorus hasn’t aged too well. The verses and production do much of the heavy lifting” Which is fair, I suppose. xondus (8) feels likewise, “I’ve always been a fan of the production and attitude of this one. A great album track.” The good sis CasuallyCrazed (9) finds time to stan and shade Eminem, “The derpy one-note verses aside, that lift-off of a chorus turns this a glorious “No Good Advice”-esque “fuck you" anthem. That Keisha/Mutya rap-off is more iconic than anything from 8 Mile.”

Some of y’all loved the chorus. Even londonrain (6) who thinks it’s cute to be this overly critical, “The chorus alone is probably at least an 8 but the verses are muddled, the lead-up is too long and the fade is a cop-out.” Chanex (7) also perks up with the chorus, “Not so important or even intelligible until the impeccable chorus kicks in. And also: if they only have one word for you then every word has got to be true cause it's only that one word? Right? Confusing.” I dunno what bizzaro Cypriot campfires lil’ Constantino (9) has been forced to sit around but werk, “WAIT at this campfire BOP! The juxtaposition between the sugar rush of a chorus and the droning verses is a treat for the ears.” acl (9) shares a bit tew much, “Goddamn I love Keisha and Mutya, on the chorus their vocals give me a hard-on.” OKTHANKYOU. DJHazey (9) is, for once, and thankfully, down for a hard bodyslam, “I always forget how much I love this song until that pause right before the chorus and I remember what I'm about to experience. Another play another sIay!”

Blayke (10) is full of doubts, “I don’t know anyone else who will give this a 10 but if someone else does, I salute you! How can you NOT enjoy MC Mutya and MC KiKi? The rap breakdown as glorious but also confusing: Mutya’s quips are SO fast it makes it almost impossible to spit some bars with her. Heidi sounds good on her verses too. It’s nice to hear husky harmonies on this song. “You are the fool coz you lost me, I thought that we were cool”. Too cool.” I was gonna say there are some 10-giving hunties to back you up, but unfortunately there aren’t. Poor it indeed, in many ways.



ΝΝΝ Hype Girl Quiche (in the middle eight)

​
 
Last edited:
marie_05

marie_05

See, before this elimination (Sunday Rain) I was going to post that it was time for a Catfights cull, only to decide against it because I feared it would result in my favourite track getting kicked out. And guess what? That's exactly what happened. I love songs with a Bond theme vibe and Sunday Rain does a brilliant job at that.
 
beyoncésweave

beyoncésweave

TOP 40​

Eliminated:

We've broken the character limit on the results post, so now you get two of them! (thank the Lord I reserved so many posts at the start).


Remaining:

UPDATES_40.jpg
​
Seaux, we have sanded away all of the B-sides, and the contours of the endgame are clear now. Three albums are doing really well and have just over half their tracks still remaining, whilst two have (/have nearly) been reduced to their singles. One has exactly half its tracks left, while another is still clinging on for dear life with a single track.

It's obvious that Three and Taller have a lot of love, but all you Catfightunties (@Voodoo, @Jonathan27, @acl), ya girl's not doing too shabbily at all.

Right, with the Top 40, we’ve reached the business end of things. The number of 10s per track will ramp up considerably. More importantly, starting right with #40, and after a blissful break of 22 songs, 11s are going to start falling left and right. If you really love any of the songs remaining, please, please let me know why; I’d love to read and share it, and I’m sure all of you would like to know as well. Besos!
 
Last edited:
You must log in or register to reply here.
Top