he/him
ANYTHING THAT YOU WANT BOY
ANYTIME THAT YOU NEED IT
ANYTIME THAT YOU NEED IT
The Sugababes Discography Rate
- Thread starter beyoncésweave
- Start date
Can you even imagine them recording that with a straight face?
Lyrically it's ridiculously over the top, but you just can't argue with what's basically the perfect pop chorus. Keisha's scream is the obvious highlight! I definitely think the main difference between this and the trash on Sweet 7 is that with Easy they at least seemed to be in on the joke, so props for that.
One Foot In did not deserve to go! My favourite 1.0 album track.
Lyrically it's ridiculously over the top, but you just can't argue with what's basically the perfect pop chorus. Keisha's scream is the obvious highlight! I definitely think the main difference between this and the trash on Sweet 7 is that with Easy they at least seemed to be in on the joke, so props for that.
One Foot In did not deserve to go! My favourite 1.0 album track.
he/him
No Tomorrow was a big bop at the time!
Y'all are some lying, cheating cunts getting rid of the incredible Soul Sound before the top 30.
Easy is a brilliant bop too. Wonderful filth. Amelle with her hair blowing fabulously at the hand dryer was all I needed to know that she was an amazing girl group member as well. The best thing was that I had fairly long hair at the time so I could recreate it on nights out with great ease.
Easy is a brilliant bop too. Wonderful filth. Amelle with her hair blowing fabulously at the hand dryer was all I needed to know that she was an amazing girl group member as well. The best thing was that I had fairly long hair at the time so I could recreate it on nights out with great ease.
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Mr.Arroz
Staff member
he/him/his
You keep asking for it.
I got a bit drunk to write this.
.
It helped. A bit.
.
Once upon a time, I hated “Easy”. It’s an instantly polarising song where you know exactly where you stand by the end of its short three minute 38 second run, if not before. Either you are on board with what it’s trying to do and are bopping to the heavens, or the lyrics have turned you off completely and you’re filled with revulsion. Still stinging from Mutya’s departure, it was easy to hang my hate on the new lineup and what I assumed was a drastic change in direction (when, of course, it was nothing but). It took a deep consideration of Sweet 7, which this rate forced me to undertake, for this to change. And when it did, the reversal was as impulsively polarising as my initial reaction to it: I went from hating the song to absolutely loving it.
Easy
Score: 7.862
11 x 2: @SmashHitter, @High Heel Feminist
Highest: 10/10 x 20(!) (@GhettoPrincess, @etienne, @tylerc904, @P'NutButter, @PCDPG, @Methyn Marquis, @Island, @DJHazey, @Terminus, @Shockbox, @Reboot, @supersoon, @AllSixSugababes, @Conan, @Filler, @scottdisick94, @Remorque, @Mr.Arroz, @chanex, @Daniel!)
Lowest: 0/10 x 2 (@VivaForever, @Mina)
My score: 9/10
––
The production is immaculate on this. It begins with those static-y, purring, waiting-for-your-car-to-get-fixed-at-the-autoshop verses. Then the song launches, whiplash-like, into that double chorus, filled with this charged, fizzing energy, each transition like a gale force of pent-up sexual frustration being fired at your face. And just when you think it has played all its cards, the song propels itself into that “Middle-Eastern inspired” instrumental middle eight, the best such instance thereof this side of “Buttons”. It all ends with an amazing inversion of the double chorus – stripping bare chorus 2, repeating it again with the production, and flaring up the Arabian Nights evocation again to re-ignite chorus 1. It’s spirited, energetic, and dare I say sexy, in this heady, spirited way.
To go alongside this are the vocals. The register of the verses is perfect for Heidi to play the sex kitten role as only she can; Amelle finally comes into her own in the early days of 3.0 with a scintillating verse; and Keisha holds it all together with a ravenous performance, right down to that toe-curling, back-scratching, hair-pulling, orgasmic SCREAM. The trio work together with the kind of perfect coherence they’d only properly display again after the gap of a whole album.
But an appreciation of the production and the vocals is still not enough to get one over the song, because those lyrics are so glaring. And they’re glaring because they’re terrible. A series of double-entres each more lip-curlingly awful than the last, and descending deeper and deeper into hilarious/revolting territory. But – and this is the key to understanding “Easy” – they’re terrible on purpose. There’s really no other explanation for them. And I feel this for a fact because there’s virtually the entirety of Sweet 7 to compare this to, where equally, or actually less, terrible lyrics are attempted to be passed off seriously. In pairing such frivolity with superlative production, the entire song is a masterclass in irony. And once you realise that, this is just a raucous, thrillingly enjoyable affair.
I can certainly understand why the jarring narrative is such a stumbling block for so many people, and especially fans from way back when. The first proper song from 3.0 turning out to be a shameless slut jam (with its irony rather less obvious) is definitely a shock and a half. And in many ways, the lyricism of this would turn out to be the canary in the goldmine as it were for the output of 4.0 and “Get Sexy” in particular. But whereas that stumbled on the irony count, ultimately being consumed by its own regressive politics, if not the physical mess of its circumstances, “Easy” has such an air of playfulness to it which immediately cancels out the toxic self-objectification. This could only have been produced with tongue firmly planted in cheek. Otherwise, it just doesn’t make sense. And to underline all of that, and top it off, there’s a horrendously sleazy video to go alongside it, where the the visual cues mirror the lyrics in their overblown indecency, replete with dripping lipstick, red lollipops, fake wigs and where the girls are possessed by the spirit of Jezebel in the club bathroom stalls to obscene effect: Keisha struggling to not pop the zipper on her patent leather jumpsuit, Heidi doing some sort of demented Siobhán cosplay and Amelle serving some B-grade Eiko Ishioka realness.
On the broadest level, I appreciate “Easy” so because it adds yet another layer to the band’s remarkable discography. It’s a good song, for sure, but it’s not ‘good’ in the way that most of the band’s hit singles are, where production and songwriting are realised in straightforward terms. It’s good precisely for making gold out of sleaze; for being unexpected in a genuinely interesting manner; and for just being a blistering, eye-searing farce, in the best possible way.
Several of you, as can be expected of a tasteless horde like this, completely missed the point. A frigid Solenciennes (5) is, of course, head honcho amongst them, “the chorus is great, the beat is hypnotic. Now, onto the negatives: I don’t care what the artistic intention behind this song was, the on the nose double entendres are cringe inducing, I can feel Heidi pulling her cardigan tighter as she sings about her landing strip, the whole thing is a hideous mismatch. The music video’s cool though. As much as I dislike it, it would have been better served as a single off the fifth album much like Good To Be Gone and ditching some of the dross that they packed Change with. Scores so (relatively) highly for the beat and the chorus, consider yourself lucky you're not getting a 1 for those horrendous lyrics.” kal (4) reprises Quiche’s turn on the Tamworth Midland Music Festival stage, “No, no, no, no, no.” You can imagine Blayke going either way for any Sugababes song, really, so don’t be surprised at his 5, “Is it me or does everything about this single sound so cheap? I remember they constantly dropped that they were working with some group for this song and they were from America and did “rock music”. Regardless, I like this song. It should not have been the lead single from Overloaded.”
VivaForever, who gave “Get Sexy” a 10, throws this a 0 and screams “DELETE IT FAT”. I think that says all you need to know about her taste. Mina at least has the decency to be consistent since she zeroed “Get Sexy” so I’ll let her bech sandwich pass, “Blech. I can't unhear the double entedres. Blech.”
On a slightly higher plane of comprehension, a dripping uno (6.5) can’t quite compute the song’s central coup, “Insanely sexy verses, and a very catchy chorus, but they feel like two different songs to me, not in a Girls Aloud kinda way, either. It does pick up after Amelle's verse, which is nice, but not enough.” It’s less two different songs, and more quiter verses that serve as respites between the 747-turbine blast (en route to Medina!) of the choruses.
stopthestatic (7) is no stranger to guilt or pleasure, “Lyrically, one of their most memorable songs. Tons of giggleworthy lines. I actually quite enjoy it as a guilty pleasure.” Count acl (9) among the shameless, “Unashamedly guilty pleasure. I am still baffled as to who decided they should be cottaging in the video though.” Constantino (7) is still not out of things to c’mon, “C’mon CHORUS! Everything else about this is awful, mixing included, but the chorus is fanstastic. I also love the bathroom stall-ography.”A Larry Craig tea!
“Amazing chorus,” echoes Deborux (8) from amid a tangle of sweaty sheets. HRH (8) has some observations to make while panting for ha life, “Criminal that so many people hate this. I really like it, and it's aged very well. Perhaps the most 2.0 single 3.0 ever released.” Sonically, that’s absolutely true. With different lyrics, I can totally imagine this as another behemoth occupying Angels. A soaking CasuallyCrazed (8.5) doesn’t quite get there with the verses, but lets the chorus finish ha off, “While I loved it when it was released, this song seems to have been forgotten within the annals [Ed: I_CANNOT_USE_REAL_WORDS_PROPERLY_ this was not a wise choise of words] of time. Upon revisiting, the verses feel too sparse and undercooked, although it helps build up to that absolute rocket launch of a chorus.” In similar vein, “ANYTHING THAT YOU WANT BOY / ANYTIME THAT YOU NEED IT,” climaxes Lost In Japan. (8.5), “The post-chorus/second chorus is a thing of wonder and one of Amelle’s best Suga-moments. Shame the verses don’t live up but a high score for that alone.”
Ironheade (8.5) proves that slutting it up in a grimy club hallway is not beneath him or the sweaty strangers beneath him, “Stomps heads and takes names, and certainly makes it look easy. The sleazy electro bassline puts you right in a pink-lit London gutter right off the bat, and for all the slickness of the production, the guitars have a surprising amount of feel remaining. The keys throughout are excellently done, flirtatiously poking at the edges of the song in burlesque fashion, and oh, that beat. This is the sound of grinding, in the best way possible – and leave it to Keisha and Heidi to really deliver on that promise. It's just a damn sexy song, what can I say? And on her fourth time out, Amelle conclusively shows her value to the group with a commanding post-chorus. Unfairly slept on, I reckon.”
“In my Sugababes Top 10, will probably struggle to make Top 40,” misunderestimates tylerc904 (10) who goes onto splurt everywhere, “I love everything about it. That double chorus is a career high. Doesn't stand out in the slightest on one of the best Greatest Hits of all time.” Hmm, actually it does; not for reasons of quality but because they had never attempted ironic hoe before this. Mutya, of course, wouldn’t have had a bar of this. I can’t imagine her singing about her pretty kitty without cracking up. Pre-prescribed hoeism requires discipline/fear of management. But yes, Overloaded was (the “New Year”, “Soul Sound”, “Angels with Dirty Faces” and “Follow Me Home” exclusions notwithstanding) an incredible package.
Sweet lil’ PCDPG (10) got completely corrupted by this song, “I remember playing this song to my friends while I was in middle school. I was ten at that time and didn’t understand how Heidi suddenly had red hair. I’d always mute the song when Amelle sang ‘I wanna sex on the beach’, being afraid my parents would hear it. I never understood why Keisha sang about her pet, her kitten, in her verse. Growing up and knowing what the song was actually about, I was ashamed for all the times I’ve played it in front of my parents. All these amazing memories combined with how fresh it sounds still sounds today, makes for one of the best Sugababes singles.”
DJHazey (10) outs himself as the only one amongst us to genuinely get turned on, “The "pretty kitty" line is iconic and considering this is my first time hearing this... mind blown. Let me leave the 10 here before I forget, because this song and Keisha in the video have me... distracted.” P'NutButter (10) sounds the Orson klaxon as he grinds up on the pole, “Bloody underrated pop song, Orson remember them? No?” They’re dead, Jill. A moist Chanex (10) lives for Amelle serving J-Lo realness in The Cell (dir. Tarsem Singh), “Iconic for Amelle's fringed mask in the video alone. The glaringly, INTENTIONALLY crass and obvious double-entenres are the conceit on which the whole thing is built, and it's a sturdy frame indeed. Did I mention Amelle's fringed mask in the video yet?” Yes, mawma.
Lil’ Runawaywithme (9) grows up and swaps ha good girl faith for a tight little skirt, “Sorry but YAAAAAAAAS. I live for this funky, sexy, slinky bop! The lyrics are just iconic “HEY MISTER POSTMAN WHERES THE MAIL FOR MY MAILLLLLBOOOXX” is such a fucking moment, it has me screaming, so does “got a landing strip clear at the airrporrt” its so sexy, tacky and kinda cringy but yet genuinely sexy, exciting, intoxicating and addictive. It’s always what I have dreamed of playing while I seduce my future very rich and handsome husband in a dark swanky gay bar somewhere, whilst wearing a fancy black dress and drinking cocktails it will probably never happen but a boy can dream.” mrdonut (9) emerges from his fetid gay cave to the blinding hetero world, “Never have I heard so many allusions to minges in a pop song. Saying that, “Got such a pretty kitty, boy I know you want to pet it” is brazenly amazing. Anyway “Easy”’s chorus is a triumph as is the stunning, Middle Eastern-infused instrumental middle eight.” “Totally ridiculous and I love it,” says a succinct londonrain (9), exhausted from rubbing himself on strangers under the strobelights.
Let me award the finishing honours to Filler (10) who once again very economically manages to finish me by describing this, very simply, as “My Squirt profile”. Which is perfect, really.
I stand by my assertion that Easy is incredibly underrated.
For me, the problem with the whole campaign was that they never committed to the song. The video was fantastic, but their live performances were boring and they seemed half-embarrassed (thanks mostly to Heidi constantly smiling, and Amelle always looking like she was about to sh*t her pants).
Also, they should have let Amelle do the the "Any way that you want ittttt" by herself, with the other two doing the "You know I got it" bits. Would have been a much stronger chorus, live.
They couldn't get her a better wig, though?
I think it comes down to an extent on the value you place on the value of kitsch, really, in pop. I definitely don't think it should be the entirety of a pop act's repertoire, and the fact that it rarely was with the Sugababes (and girlbands in general) makes the few instances of its occurrence notable and appreciable for me. I suspect I have a higher tolerance and preference for irony and just ridiculousness in pop though.
More broadly, it's genuinely interesting that they have a bop like this to go alongside their (more numerous) thought-provoking and non-crass songs. It just adds another dimension to their already varied discography.
2 used 2 means 2 hearts 2 please
Here's my point of view, Wouldn't wanna offend you
Here's my point of view, Wouldn't wanna offend you
I lost my rhythm when you said it's over
2 Hearts
Score: 7.869
Highest: 10/10 x 15 (@etienne, @RJF, @LE0Night, @Black Topanga, @xondus, @Solenciennes, @mrdonut, @lalaclairi_, @marie_05, @Shockbox, @Robinho#1, @scottdisick94, @Mr.Arroz, @HRH, @Blayke)
Lowest: 2.5/10 x 1 (@Mushroom)
My score: 8.5/10
––
It feels like it’s exactly the right time for this to depart. Taller In More Ways’ album closer is a grand, swoony and epic ballad which ends things on a stirring high. In terms of the Sugaballad stakes, I feel like it eases the gears on the songwriting somewhat, but amps up the production significantly to create a string-fuelled, cinematic epic. As always, and especially as with 2.0, the girls’ vocals meld perfectly with the ramped up ballad antics; Mutya’s malleable tone in particular a great match with the swelling dramatics. I feel like the top grade Sugaballads are less reliant on their production, and have more going for them songwriting wise; this being relatively simple in terms of theme. That’s not a huge knock on this, but I keep expecting a bit more. Even with the production, one feels like the trumpet breakdowns towards the end could be a bit more pronounced to ease off on the strings more and create more of a varied soundscape.
Part of my initial apathy towards this was that I think this is slightly misplaced as the album closer. Yes, it’s all epic in a curtains falling on the symphony orchestra way, but I felt, and still feel, that that’s slightly contrary to the the tone of the album. “Better” fits the breezy, pure pop vibe of the album, well better, for me. Alternately “Ace Reject” does the (aspirationally) avant garde ambit of the album, and indeed, bookending the album with the two of the most pivotal pop moments of the decade would have been entirely fitting. As it is though, it’s a fine enough album closer. But as with their album operners, the Babes were unsparingly immaculate with their closers (I mean, “Run For Cover”, “Breathe Easy”, “Maya”, “Undignified” and “Can We Call A Truce” are all great to unimpeachable). In this context, “2 Hearts” is ‘just’ good enough, which means that, in any other situation, it’s superb.
Let’s begin our enquiry with ssa (6) who admits that they “just can’t get into this. Why do y’all like it so much? Enlighten me.” Well, let my hunties. Step up Ironheade (8)! “Another gorgeous Sugaballad, quite a bit better than the other two on the album. Mutya sounds plain brilliant as she usually does, but Keisha and Heidi certainly aren't letting themselves get shown up, and they have the benefit of a finely-tuned, polished arrangement. The shimmering high-end wah-wah guitars and acoustic arpeggios shine like stars, and the strings that explode in the climax add a genuine baroque classiness. The only thing that doesn't quite work here is the drum production, which sounds weirdly hollow and dirty, and intrusively thunky in the mix, out of place against the glittering sheen of the rest of the music. Other than that? Great ballad, with the trumpets leading things out acting as the best curtain-lowering gesture the album could have asked for.”
Mutyafanz.bg site administrator kal (8) calls it a “beautiful ballad with not enough Mutya on it.” Solenciennes (10) deems it a “beautiful track, “everything between us makes me glow” and “everything around us helps me grow” feel very clever, the chorus is great and I think this is one of the more underrated songs in their discography, I hope it does well.” And it did! Mina (8) is surprised that she likes a Sugababes song for once, “I'm fond of this song for some reason.”
PCDPG (7) understatedly finds it a “lovely album closer, especially the trumpets and the dramatic outro.” P'NutButter (7.5) has been listening to a different song, seemingly, “Good closing track, the vocals get a bit messy on the chorus though.” londonrain (7.5) is curt, “A good album closer but not amazing.” “I prefer the Kish Mauve original,” seethes Filler (6) who thinks confusing Kylie’s remix contractors is cute.
CasuallyCrazed (9.5) sounds the Sugababes Bond klaxon for about the sixth time in this rate, “the Sugababes equivalent of a Bond theme. Those strings suit Mutya’s rasp and Heidi’s torch vocal perfectly.” Constantino (8) thinks he’s being cute bringing up Ms Minogue, “WAIT at this luscious, euphoric string-led masterpiece! I was NOT expecting this level of sophistication from mid-discography Sugababes but here we are… it’s not quite good as Kylie’s, mind.” I mean, it might be better. acl (8) deems it to have “Good production. I like the sound of “2 Hearts” but i don’t feel the lyrics. Good album track though.”
DJHazey (7) lets ha vanilla queen down, “God is Heidi's section so fucking boring. It's almost too late for life to be breathed into things by Mutya's verse for me to care. It's a pleasant sound for them overall though.” xondus (10) repuditates this and is transported, “Just beautiful. Heidi really shines on this one, and that extended strings outro takes me to a different world.”
Shockbox (10) professes that he loves “the production of this song so much. I would have loved to have seen them perform this live.” Indeed, one of the casualites of a discography as large and diverse as this is that many great songs miss out on being performed, and this certainly ranks among them. Even when/if MKS get around live performances, one suspects this will be far beyond their remit. mrdonut (10) has high praise, “Along with “Ace Reject”, this is Taller’s zenith and a perfect way to close the album. Sweeping melodies, soaring strings and vocals to die for make this a stunning achievement. And that instrumental ending, talk about inducing goose bumps.” Robinho#1 (10) “wanted this to be a single so damn bad. The moment the strings began I fell in love.” HRH (10) stans with a tinge of indignation, “I feel like not a lot of people know that Sugababes can create music like this. Epic.” I think an appraisal of their ballad singles reveals this (even between a stretch frm “Too Lost In You” and “Caught In A Moment”) but more could never hurt.
Chanex (9) raises the bitter spectre of scam queen Ms Hill, “Wow! I had forgotten this jam. Maybe it takes more listens than I wanted to give it at the time. Creeper or not, the beat helps the chorus reach anthem status; it's kind of Education of Lauren (sic) Hill? A little bit? And that symphonic ending is mythic.” It really doesn’t take much for Blayke (10) to come around to a Sugaballad, “I love how gorgeous and dramatic this song is. Heidi rules that first verse and the haunting harmonies on the chorus are magnificent. Once again, Sugababes have a fantastic album closer. At first I never liked this song, but it really is a masterpiece of drama.”
Lets close things with my gorgeous LE0Night, “Initially I had “2 Hearts” sitting quite squarely at a strong nine, but coming back to it after I’d been through everything that followed I just couldn’t not bump it up to a ten. Unlikely it was ever intended to be but as a grand finale and an emblem to everything that was about to come to an end, it couldn’t have been more appropriate; warm, brassy, lush, nostalgic, almost cinematic even, with that nothing-short-of-epic string finale carrying them all off into the horizon one last time. Mutya couldn’t have left on a more perfect note.” Beautiful.
Part of my initial apathy towards this was that I think this is slightly misplaced as the album closer. Yes, it’s all epic in a curtains falling on the symphony orchestra way, but I felt, and still feel, that that’s slightly contrary to the the tone of the album. “Better” fits the breezy, pure pop vibe of the album, well better, for me. Alternately “Ace Reject” does the (aspirationally) avant garde ambit of the album, and indeed, bookending the album with the two of the most pivotal pop moments of the decade would have been entirely fitting. As it is though, it’s a fine enough album closer. But as with their album operners, the Babes were unsparingly immaculate with their closers (I mean, “Run For Cover”, “Breathe Easy”, “Maya”, “Undignified” and “Can We Call A Truce” are all great to unimpeachable). In this context, “2 Hearts” is ‘just’ good enough, which means that, in any other situation, it’s superb.
Let’s begin our enquiry with ssa (6) who admits that they “just can’t get into this. Why do y’all like it so much? Enlighten me.” Well, let my hunties. Step up Ironheade (8)! “Another gorgeous Sugaballad, quite a bit better than the other two on the album. Mutya sounds plain brilliant as she usually does, but Keisha and Heidi certainly aren't letting themselves get shown up, and they have the benefit of a finely-tuned, polished arrangement. The shimmering high-end wah-wah guitars and acoustic arpeggios shine like stars, and the strings that explode in the climax add a genuine baroque classiness. The only thing that doesn't quite work here is the drum production, which sounds weirdly hollow and dirty, and intrusively thunky in the mix, out of place against the glittering sheen of the rest of the music. Other than that? Great ballad, with the trumpets leading things out acting as the best curtain-lowering gesture the album could have asked for.”
Mutyafanz.bg site administrator kal (8) calls it a “beautiful ballad with not enough Mutya on it.” Solenciennes (10) deems it a “beautiful track, “everything between us makes me glow” and “everything around us helps me grow” feel very clever, the chorus is great and I think this is one of the more underrated songs in their discography, I hope it does well.” And it did! Mina (8) is surprised that she likes a Sugababes song for once, “I'm fond of this song for some reason.”
PCDPG (7) understatedly finds it a “lovely album closer, especially the trumpets and the dramatic outro.” P'NutButter (7.5) has been listening to a different song, seemingly, “Good closing track, the vocals get a bit messy on the chorus though.” londonrain (7.5) is curt, “A good album closer but not amazing.” “I prefer the Kish Mauve original,” seethes Filler (6) who thinks confusing Kylie’s remix contractors is cute.
CasuallyCrazed (9.5) sounds the Sugababes Bond klaxon for about the sixth time in this rate, “the Sugababes equivalent of a Bond theme. Those strings suit Mutya’s rasp and Heidi’s torch vocal perfectly.” Constantino (8) thinks he’s being cute bringing up Ms Minogue, “WAIT at this luscious, euphoric string-led masterpiece! I was NOT expecting this level of sophistication from mid-discography Sugababes but here we are… it’s not quite good as Kylie’s, mind.” I mean, it might be better. acl (8) deems it to have “Good production. I like the sound of “2 Hearts” but i don’t feel the lyrics. Good album track though.”
DJHazey (7) lets ha vanilla queen down, “God is Heidi's section so fucking boring. It's almost too late for life to be breathed into things by Mutya's verse for me to care. It's a pleasant sound for them overall though.” xondus (10) repuditates this and is transported, “Just beautiful. Heidi really shines on this one, and that extended strings outro takes me to a different world.”
Shockbox (10) professes that he loves “the production of this song so much. I would have loved to have seen them perform this live.” Indeed, one of the casualites of a discography as large and diverse as this is that many great songs miss out on being performed, and this certainly ranks among them. Even when/if MKS get around live performances, one suspects this will be far beyond their remit. mrdonut (10) has high praise, “Along with “Ace Reject”, this is Taller’s zenith and a perfect way to close the album. Sweeping melodies, soaring strings and vocals to die for make this a stunning achievement. And that instrumental ending, talk about inducing goose bumps.” Robinho#1 (10) “wanted this to be a single so damn bad. The moment the strings began I fell in love.” HRH (10) stans with a tinge of indignation, “I feel like not a lot of people know that Sugababes can create music like this. Epic.” I think an appraisal of their ballad singles reveals this (even between a stretch frm “Too Lost In You” and “Caught In A Moment”) but more could never hurt.
Chanex (9) raises the bitter spectre of scam queen Ms Hill, “Wow! I had forgotten this jam. Maybe it takes more listens than I wanted to give it at the time. Creeper or not, the beat helps the chorus reach anthem status; it's kind of Education of Lauren (sic) Hill? A little bit? And that symphonic ending is mythic.” It really doesn’t take much for Blayke (10) to come around to a Sugaballad, “I love how gorgeous and dramatic this song is. Heidi rules that first verse and the haunting harmonies on the chorus are magnificent. Once again, Sugababes have a fantastic album closer. At first I never liked this song, but it really is a masterpiece of drama.”
Lets close things with my gorgeous LE0Night, “Initially I had “2 Hearts” sitting quite squarely at a strong nine, but coming back to it after I’d been through everything that followed I just couldn’t not bump it up to a ten. Unlikely it was ever intended to be but as a grand finale and an emblem to everything that was about to come to an end, it couldn’t have been more appropriate; warm, brassy, lush, nostalgic, almost cinematic even, with that nothing-short-of-epic string finale carrying them all off into the horizon one last time. Mutya couldn’t have left on a more perfect note.” Beautiful.
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Solenciennes
Staff member
Ohhhh @LE0Night that made me feel a bit teary, what a beautiful comment. I'm glad 2 Hearts made it this far, I do agree it's not going to win prizes for best album closer or best ballad among their discography highlights yet I still felt it deserved a 10, it's faultless as far as I'm concerned. I don't know what it would need to match some of their greatest heights because there's certainly nothing dragging it down to my ears, just something missing to truly elevate it?
Agreed.
Now let's boot out the remaining songs that have overstayed their welcome.
