The Sugababes Discography Rate

About A Girl >>>> Gotta Be Deleted


Deleted member 3416

Gotta Be You really should go soon. I'm shocked it's made it this far, I think Mutya's verse is iconic but that's about it.
"Shape" is a strong tune, for the most part. Too bad it leans heavily on source material that epitomizes a once-great artist's Lame Period.


Staff member



Sunday Rain

Score: 7.538
Highest: 10/10 x 12 (@CorgiCorgiCorgi, @Terminus, @Aester, @Jam, @ssa, @acl @Solenciennes, @Voodoo, @Island, @marie_05, @LE0Night, @Runawaywithme)
Lowest: 0/10 x 1 (@Blayke)
My score: 8/10

So, if something had to go from Catfights, this definitely should not be it when there are worse songs (e.g. “You On A Good Day”) waiting in the wings. But we’re getting to the business end of things, and expect the twinges to become stings.

This is such a layered, gorgeously constructed showstopper. Part of Catfights’ remit was to do a girlband album in the Motown+Philly Soul style, but update that sound to be contemporary as well. The obvious directions in such a project are to go down the bombastic route, which the album does to a more or less satisfying degree with its singles. More important, however, are what composes the body with the midtempos and the ballads. “Sunday Rain” is a damn fine example of just how right they got the whole project. It’s a sultry, slinking brass number that capitalises on the retro sound without relying on it completely, with a watertight narrative and soaring vocals.

The song feints listeners by beginning with a piano, harmonies and strings before introducing that strutting instrumental which goes onto hold the song together. The verses are brilliant, showcasing the vocal heights 3.0 had ascended to; Amelle’s raspy tone perfect for the distress of the narrative, and Keisha’s rather forceful one signifying the taking of control. When the adlibs start to crackle in the background of the latter verse, the song just starts to come alive. The chorus has this great back and forth quality which the lyrics emphasise with the tale of a relationship resigned to perpetual mutual hurt. Even a purely instrumental middle-eight doesn’t detract from the song, as it’s used to build up the strings to their utmost to lead into a final chorus which is a flurry of strings and Keishalibs exploding everywhere.The really satisfying flavour of the songwriting is in painting the fatalism of being stuck in a resigned way within a doomed but unending relationship.

The whole effect is wholly cinematic. Such a blustering, wind-in-the-face-as-strangers-hustle-past-you vision brought to life. Perfect fodder not only for Bond films, but your run of the mill haute romantic dramas.

mrdonut (7.5) confirms for all of us that it is “indeed perfect for playing on a rainy Sunday.”PCDPG (7) thinks they are listening but it appears they haven’t heard, “A bit over the top in sounding retro. It tries to hard to sound classic.” P'NutButter (8) decided that this was a good point to develop a hearing impairment, “Brilliant but the melody is kinda stunted due to the poor vocals.” Sis, it’s like one of their best vocal performances? Chanex (8) finally nails it, “How did I ever forget about this Winehousian heartbreaker? Well to be honest I probably won't be listening to it often but it's undeniably worthy of an 8 right?” Yes hunny! Filler (8) relays everyone’s collective surprise at Catfights’ stellar quality, “Every random track here is operating on a far grander scale than the album sandwiched between Change and Sweet 7 deserves. You're doing alright when a song like this could probably be considered filler.” Yep, I mean, you toss out the few pieces of fluff and disregard the clear opuses and there’s still a substantial 7-8 track body in between that is just good.

Like when Rory followed up sweet, beautiful Jess (oh my lord, so beautiful) with white trash Logan in Gilmore Girls, londonrain (5.5) disappoints me deeply by settling for mediocrity, sputtering “I see where this is going but it leaves me a bit cold.” DJHazey (5) once again recoils from anything remotely complex, “It just kind of ends up raining on the parade. Beautifully executed, just not really what I'm looking for.” Honey they can’t give you Disney basic bops everyday, mkay?

And here we have sweet, messy Blayke (0) whose has one of his inexplicable hate swings, “I am going to get slaughtered by the PJ queens for this. I absolutely hate this song. It has been dead to me since 2008. When it comes on shuffle, no matter what I’m doing, I skip the song. No thank you. I conveniently know the words though.” If Blayke had given this the average score for it (7.5~) it would have gone up by one to #41; anything higher and it would have leapt into the Top 40, sigh.

Meanwhile, CasuallyCrazed (6.5) wants more D-R-A-M-A, “Written as a massive torch anthem, but none of them are quite camp or dramatic enough to pull it off. Keisha comes closest with those growling ad-libs.” Honestly, I find Keisha the least camp out of them on this. Constantino (9) meanwhile finds them plenty campy enough to pull out the lighter, “YAS! C’mon melodrama! Give me that string section that I love, girls! *Detox lighter gif*

Ironheade (9) busts out his stan card and removes several bull clips from his wig for good measure, “Going from Motown to Philly, are we? Turns out, the Babes are even BETTER at that! It gets off to a bold start with its smoky saloon strings and spacious 6/8 rhythm, stark horns punctuating the mix with a warning of danger, the perfect backdrop for the girls' burnt-out deliveries (a trick that Amelle takes full advantage of). Then it explodes into the awesome chorus. Big and brassy and dramatic and WONDERFUL, Keisha at her absolute vocal best leading from the front with aplomb, and the searing yet distant electric guitars adding a real tension and poignancy to the arrangement. I love the way the strings are allowed to carry the instrumental melody for the extended bridge and let things breathe. You know what? This might be the best retro-moment from a girl group ever. Yeah. Better than “The Promise”.” Actually the best retro-moment from a girl group ever would be this little number, but I'll let you be cute.

Some of you felt that this could’ve been a Bond theme, which, I can’t disagree with. Mod-in-training Solenciennes (10) deems it the “The Bond song that never was. The cooing at the beginning and the atmospheric scene setting by Amelle seguing into Heidi are particular highlights for me. They would have really deserved something as major as a film soundtrack with this album I think, it always felt quite cinematic to me and while I don’t think this would have worked as a single off its own merits, it would have probably worked as a soundtrack accompaniment.” kal (9) is also here for this in widescreen, “Another highly cinematic, dramatic ballad. This is 3.0’s Bond theme that never was.” Rewind to just one elimination ago when kal was claiming “Like The Weather” was the Sugababes’ Bond theme that never was. So what is the truth?

Runawaywithme (10) makes a bit of a left-field comparison but makes it werk, “This is like “Ace Reject” 2.0 and for me is just as much as draw dropping, drop everything, gloriously overdramatic moment, whereas “Reject” had a great slow minimal production that made it work this one turns up the massive motown drama and I just live for it, the whole dark cinematic all or nothing moment of this song just sweeps me up and I just love everything about it, the tears, bad boys, dysfunctional relesonships and crashing drums are everything I love, just yes.” acl (10) has seen the light, “See 'Unbreakable Heart' (> "Amelle sounds heartfelt and Keisha serves VOCALS all over this that can scalp ANYONE. If I had a few 11s I could easily throw one at this cause the vocals and production are just so fucking epic. That this was never performed live is a travesty."] + some on form excellent Heidi. Vocally the best 3.0 ever sounded.” Finally ssa (10) claims that “I want my Sugababes mellow and wintery”. They’re quite good like that, huh?

I've been very warmed by the ongoing discussion over "Ugly", my hunties. It really is proof that music is sometimes far more than the sum of its parts, or beyond those parts altogether.

This was also a bit of a kii.
I feel like I'm too hard on 'Ugly'. It's a good tune and the sentiment is there but the cheesiness and clunkiness just make it downfall for me.

The chorus kind of ruins the song.
Why is 'Ugly' connecting with me so much today. *cries*

*snapchats Keisha*
Why am I getting teary-eyed now?
I plan to induce regret-filled sad-bopping in each of you by the end of this rate.

P.S. Taller in More Ways and Change are basically interchangeable for me - I think Change in certain places has aged much better than the former, where Mutya's vocals, alone, even when subtracting her relative hollow appearance, elevate the material to another level without doubt. Either way, it was sad to see how the near-imperial phase of TIMW was in many ways decimated by Mtuya's departure, and was only really given and allowed one last, tragic uttering with "About You Now", a fine single, a great pop track... but an outlier in their back catalogue that really does nothing to identify their strengths and the unique personality that they once offered the music world.

Which leaves Catfights - a brilliant attempt to reverse the damage resulting from the loss of Mutya, which created a new narrative for how these three "Sugababes" could function away from the M-K-H model - but which was coupled with an unfortunate failure to reanimate the charts - an outcome that really portended the end and put all to rest, despite a hugely appropriate directional change.

I guess it's weird that I discovered the girls in 2007 with a radio rip of "About You Now", leading me to read up on the past lineups and drama before Change, only to see the very same group dissolve less than three/four years later. MKS has certainly given me something to hold onto, both with 1.0 and their newer work, and hopefully, more in 2017, but it's crazy to sit back and see that I've spent basically a decade with the music and inner industry workings of this group of talented women... when all I thought I was doing was downloading an album of 12 seemingly random M4A's that I might have very well hated and deleted from my hard drive.

....but here I am, a decade happier and hopefully wiser, with a mind and world view guided by the music that they've given me. I often do get emotional with music, but here, it's even more justified. The Sugababes have been one of the mainstays in my life this last decade, becoming my most listened artist EVER; helping me navigate situations that I didn't realize that I needed them for. It's been a wild ride, and it's what makes MKS's journey more heartbreaking. For so long, I've "needed" their brand of pop, and to see it held captive by legal bullshit has been a heartache. I hope things clear up as much as possible because at this point, not getting more would be purely criminal - but even more, just completely a punch to the gut.

Wishing them the best but also wishing that I could be more concise (kii). Much love to each and every woman that's given her all to all that constitutes "Sugababes". I needed you in ways that you may never ever get to know.


(Wait till you see my rate concluding soliloquies)
Every time I feel a break up

I'm caught up in the middle

But that's not the shape of my heart



Gotta Be You
Score: 7.642
11 x 1: @Zar-Unity
Highest: 10/10 x 6 (@Methyn Marquis, @Conan, @scottdisick94, @NecessaryVoodoo, @Mr.Arroz, @Blayke)
Lowest: 2/10 x 1 (@marie_05)
My score: 7/10

So it’s finally gone. This placed maybe a bit too high (and actually pipped “Ugly” by a tiny 0.77 points in total) but it’s also rather understandable because it’s such a bop? The Sugababes have a go at US-style crunk, and while not quite the first attempt at the genre by a UK act (as heralded by Keisha at the time) nor doing anything particularly revelatory, the pounding bass-heavy synthline is extremely earworm-y. It holds together a side-eyeing of a trifling mans, with some neat turns of phrase; Mutya’s shoutout to herself in third person in particular is great. It also doubles as an assertive put down of slut shaming, particularly the kind that emanates from men regretting their hook-ups. Vocally, it’s the Mutya and Keisha show, and the two demonstrate why they were such a distinctive force in British R&B in the 00s. Mutya’s quiet purr pairs so well with Keisha’s full-throated club drawl, Keisha’s “It’s you (you-uuuuuu)” outro at the end being especially fantastic.

As the most out-and-out R&B song on the album, it sits a little oddly on the album which is otherwise filled with mostly purer pop songs. But it’s not an entirely uncomfortable fit as it leads on well from Three, being in its tradition (especially lyrically) but somehow a little slower paced. Following on straight after “Push The Button” is an interesting choice as well because it feints you into thinking the album will be full of cute Pop/R&B bops, before plans get scuttled confusingly with “Follow Me Home”. They never really were that good at sequencing their albums though, One Touch and maybe Catfights notwithstanding.

The less said about the Amelle rerecord the better (I had completely forgotten about it as I let on earlier in the rate). Not only does Amelle sound supremely uncomfortable on it, but it destroys the two best parts of the song: Mutya’s amazing self-reference which is replaced rather grossly with “this slut” and Keisha’s “you-uuuuuu” outro.

All of you pretty much unilaterally hated the Amelle version. tylerc904 (6) was especially put off by the lyric switch, “Okay, so I am not an Amelle h8r but changing the lyric from "Mutya" to "dis slut" is so clunky and I cringe every time. Jam (6) also finds the Amelle version lacking a crucial element, “I always missed Keisha’s ‘youuuuuuuuuuu’ adlibs that were removed from the re-recorded 'Amelle' version. Also quite fond of her ‘I don’t have to live with regrets’ talky bit.” Cryctall (7) rates the “Mutya version only. She makes it more fun. Plus Amelle sounds very weird on this one (as she did on all songs from that era, she sings so much better starting from Change onwards).” Mutya just keeps giving material for her twitter account manager Blayke (10) to stan/defensively react to: “In 2005 this song was on trend and pumping. It was a surprise yet something you would expect Sugababes to try. I enjoy the Mutya version of this song as it has the smart inclusion of her name. (Self-identifying queen). The second verse is perfect for both Keisha and Mutya. I would low key love Heidi do a verse of this song. It would be hilarious. It definitely sounds dated now but I still love it now. I wonder how it would have done had it be a single with Mutya. In regards to Amelle’s version, she added nothing to it but didn’t like the change from “Mutya” to “This slut”. In my 2006 stanning ways, I took that as a personal attack.”

“It gets boring after the first chorus and it repeats too much,” self-shades PCDPG (6.5). acl (6.5) picks up on the same broken record, “I felt like I should like this seeing as Mutya and Keisha did but it just felt a bit repetitive and basic. In the chorus. Goes on a bit. I like Keisha’s yoouuuus near the end.” Solenciennes (4) lays bare some of the tensions and administrative failings SS Sugababes were heading into at the time, “Mutya version. Their claims at being the first to bring crunk to the UK were a bit of a reach and I wouldn’t be writing home to brag about that off the back of this song, either. It’s distinctive, definitely, but it’s not particularly great to sing along to and is a bit too wordy to have been a hit so I’m not sure why Mutya was so attached to it. Nevertheless, props to them for trying out new things and Amelle shouldn’t have gone anywhere near it when Mutya’s name was in the lyrics of the original version, it made it territorial and that coupled with Follow Me Home being perceived to be about primarily Mutya’s daughter, it just felt like the label had no tact about what got re-recorded and showed them to be a brand, not a band, for the first time I think.

kal (7) is succinctly bopping, “Sugababes doing crunk. Mutya name checking herself is a highlight.” Filler (7) cracks me up again, “Absolute banger about farting in a lift.” DJHazey (7) has the nerve to say “It flows nicely during the verses despite the overbearing production. But it loses me pretty quickly during a chorus that just sounds like repetitive noise to me” after sitting through all of Confident.

“One of the weaker tracks on the album,” starts londonrain on his 7.5, “This album would have benefited massively if they had deleted every track that the Sugababes didn't co-write, including this one. Even so, it's still catchy, and I have so much of an attachment to this album that I can't bring myself to hate this.” A drunk Runawaywithme (7.5) once again, likes everything, “a sucker for early noughties sexy dark R&B jams like this, so I like it. Mutya sounds so fiery and sassy on this one and I just love that moment where she belts about her ass. Keisha also really sounds great here, as does Heidi. I really like listening to this when I’m feeling confident sassy and a bit sexy. I probably over scored it a little bit but I’m just feeling it at the minute, or maybe it’s the alcohol I just had.” mrdonut (7.5) finds it to be “A well-polished Aaliyah-esque jam”

Chanex (8.5) is getting ha life filled with jams, “OK damn I'll turn the lights down... OK it's me not you... this relentless jam is a major rediscovery.” Likewise, Epic Chocolat (9.8) finds their socks knocked off again, “I used to be obsessed with this song and then I totally forgot about it until this rate. Still does it to me.” CasuallyCrazed (8.5) always finds value in the trash bin, “Although this was most likely a rejected Cassie / Danity Kane demo, I can get down with any song where Mutya proudly name drops herself and disses the slut shamers.” That reminds me, what happened to Cassie? P'NutButter (8) thinks it’s “Such an odd placement for this song on the album, I'm still surprised it wasn't a single.” Hmm, I wonder if it could’ve done better than “Follow Me Home” on the charts; but the Amelle records of both are hugely inferior to the Mutya versions.

Ironheade (8) is having a hard time not spilling ha vodka Red Bull on the dancefloor, “Yeah, here's a song that only could have been made in 2005. I half expected Lil Jon to turn up, between the shuffling hip-hop beat and anvil-heavy bass synth. Sounds a bit too American for the Sugababes, but don't misunderstand me, it BANGS. The tambourine and hand drum rolls in the chorus add a lot of groove and underlying charm to the song, and the sharp rhythmic vocals from Keisha in particular sound pretty damn good. Nice vocal melody, a good platform for her to deliver another heaping helping of balls, even with the slight understatedness of the chorus. And dig the G-funk-like synth lead in the bridge! (PS. Sorry Amelle, but the Mutya version smokes yours.)” Constantino (8) also wants to go to 2005, “Queens of shifting the blame! The production is very mid-noughties RnB pop, which was kinda my era so the nostalgia is really ~taking me there~ right about now.” Mina (8) titters along with me “even after all these years, I'm still dying at the "cuz my ass is the only thing you'll see" lyric (and the uncreative erasal of the Mutya call-out in the Amelle version).” The line actually gains another layer of meaning given Mutya’s ass implants ΝΝΝΝΝ.​

This performance with Amelle on board retains Keisha’s outro

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Staff member
I honestly think the only reason they re-recorded this with Amelle was just so that there would be no lyrical references to Mutya on the album.

I don't know how this one made it into the top 40. As you can tell from my rating, though, I'm certainly not bitter that it did.

After your commentary, I am now imagining this as "Gotta Be You (No Rap Edit w/o Lil' Jon)". Fits perfectly.