So, after going through her instagram and seeing her sing Holler, So Good, Into You & Overload at her karaoke birthday, I can say Keisha really is the best sugababe of them all. Not that I didn't already know tbh.
So this rate has a few baffling results, but this might very nearly be the most baffling one. The way this dark horsed its way into the top 30, at points going as far as #22, was utterly perplexing to me. I mean, it’s a fine, fun bop. I’m not even going to castigate the lyrics because deep meaning is not the point of the song, romanticising sticking around with a deadbeat in a light hearted way. They really take the 60s girl group thing to a logical extreme here, with a nice updating of that sound (especially with that guitar line) in a contemporary way like the rest of the album manages. There’s a real swing to the verses, even though the chorus’ melody is rather lacking and a bit strained towards the end. The girls serve up vocals appropriately, Amelle in particular taking on the schmaltzy lounge siren role perfectly and all three giving some nice harmonies. All in all, it’s a cute package.
But, and this is the problem with the song’s placement in the rate, it’s only that. At this point in the rate, the bulk of the remaing songs either go deeper than that, or ramp up things considerably if they wish to remain cute. The fact that it outlasted some genuinely amazing songs not just from other albums (see: most of One Touch, some great B-sides) but from Catfights itself (see just two eliminations ago) is travesty. All of this has soured me on the song more than it probably desserves. And yes, the commentary is just a mass continuation of my bafflement, with almost all of you falling over yourselves for it.
PCDPG (9) needs a bit of a refresher on what “strong lyrics” are, “Very lyrically strong song with a fun theme. Something different than the usual love/heartbreak songs. As does HRH (8), “Lyrically amazing, but this shoddy production almost ruins it.” Ironheade (8.5) at least clocks the girls’ lyrical game, “This is kinda goofy on the lyrical front, let's not mince words. But the Babes just sell it, with their snarkily resigned deliveries and slickly executed chorus harmonies, bouncing off each other like super balls with their vocal trade-offs – plus, now they've stopped actually covering 70's soul songs, now they can actually adopt a bit of its spirit, because this is a heck of an arrangement. I'm convinced that Richard "Pistol" Allen played on this – for who else could have delivered a drumbeat with this easy combination of sensual and stomping? – and the flutters of vibraphone and propulsive blurts of guitar give this a real lighthearted spirit that's hard not to love. And check out the way it soars higher and higher from the beginning of each verse to the explosion of the chorus. Deft songwriting there, ladies.
tylerc904 (8) finds some room for critique, “The verses are undeniable but I do find the chorus lacking a little punch.” Deborux (8) simply observes, “great harmonies.” Beautiful harmonies. Blayke gives the second to last of his non-10 scores (yep) which is an 8, “This is a fabulous song. Heidi suits this song so much. The middle-8 breakdown is the best part of this song. Keisha’s outro is also brilliant – “can I get a OOH OOH?” NOO NOO. CasuallyCrazed (8) lives up to ha name, “Perfectly embodies the Motown vibe and infinitely catchier than “Girls” — this really should have opened the album and served as lead single of Catfights.” NO! stopthestatic (10) is smoking the same expired crack, “One of the best songs 3.0 ever did, and one of the best Sugababes songs from any line-up. Should have been a single.”
mrdonut (9) loves ”A dazzling opening verse (I don’t know of many songs that include the word ‘enzyme’), sumptuous melodies and an addictive chorus. A wonderful burst of joyfulness.” Meanwhile, P'NutButter (9) finds it “brilliant”. DJHazey (9) needs to find a more stable wig, “The verses are absolute wig-snatchers, but the chorus is kind of lazy in the grand scheme of things. It needs to go off a bit harder considering the retro-sounding perfection that leads up to it. Still an amazing song and I'm just being nit-picky.” You’re not being nit picky enough boo. “I love that intro!” jizzes MrJames (9).
Mina (4) slays me when she asks “An ode to being a doormat?” Get her, Jade! Filler’s (5) attention deficit comes in handy for once, “I quite like this for about 40 seconds but I find something really inexplicably irritating about *beat* "...and baby that's you on a good day!" as a lyrical twist. Sorry girls.” I wouldn’t apologise. Constantino (6) finally gets on my frequency, “This is… cute? It’s hardly a standout in their discography but the production is light and fun and they sound decent, although we’ve heard much better harmonies earlier in their discography, but I blame that on Mutya’s departure.” An unenthused kal (7) observates that “this is cute”.
”Love the middle eight, but the rest I don't like a lot,” is still somehow enough for a 7 from cryctall. londonrain (7.5) notes that this is “The Sugababes’ attempt to be the Ronettes. It works, but I wish there were a little more to it.” I wish there were a lot more to it. Runawaywithme (7.5) is fairly easily amused, “A nice sassy little bop, I think that the motwon sound really suits this line up, I love the quirky lyrics as the mental image of Keisha screaming at her poor boyfriend who has got his chromosomes and enzymes confused amuses me.
“The individual vocals, the devine harmony breakdown following Keisha’s “Ladies”. The only thing that lets this down is the chorus which I find kinda basic,” which results in a whopping deduction of … 0.1 points from acl (9.9). Solenciennes’s (10) terrible taste is tickled pink like a butthole tight by this, “the intro is glorious, Keisha’s bad science, Amelle’s favourite rims being gone… the “I want it, I hate it, I need it…” section is a treat and the chorus is a rush. The problem with this album was the lack of obvious singles but this might have worked if it had been given an American diner in the desert with a classic car video, I can see it working.” I mean, that’s practically the “About A Girl” video.
Chanex (9) mistakes a puddle for being deep yet again, “When I first heard this I thought there was something so fresh about it for them to come at a love song from that perspective. It seemed like they had sang about every kind of relationship scenario before. Anyways I love it and that's part of why.” uno (10) also hails this as somehow signalling the band’s “growth”, sigh, “Took me by surprise when I first heard it, and still kind of does to this day. Would've never guessed the Sugababes would do something like this, but it definitely hows how they've grown as artists since they first began.” I mean, considering where and how they started, these sorts of growth comparisons are a bit of a misnomer, especially when comparing fluffy dross like this. Large parts of the rest of Catfights provide much better fodder for such comparisons.
Sure, it's fluffy, but it's far from "dross". It achieves what it sets out to do on that front very, very well. Shouldn't have outlasted "No Can Do" or "Sunday Rain" (grumble grumble), but it nails the faux-retro sound perhaps the most authentically of any song on the album - stick it on Random Northern Soul Compilation #100,045!
This has to be one of the most baffling top 30 entries, indeed. I get what it attempts to achieve, but No Can Do does the retro thing so much better. You On A Good Day has decent verses, but the chorus is just so flat/lazy/woefully underwritten.
The chromosomes/enzymes line is great, but that's about it. Certainly not a stand-out on Catfights.