The hideous cover photo for About You Now is the only thing I don't like about it.
The Sugababes Discography Rate
- Thread starter beyoncésweave
- Start date
Also, I think you get at why the song presents such a conundrum for so many. It can be a great song without necessarily being the band's best due its already established history and musical narrative.
Wait...Overload a pop song? It sounds just like the alternative/indie/pre-hipster-in-a-coffee-shop-with-a-guitar drivel put out by so many artists around the late 90s/early 00s to me (as does most of One Touch).
Most iconic rate villain. I don't think there's anything more to say.
(But name me a girl group song with a cooler surf guitar solo. G'waan.)
londonrain
Staff member
Trying to reclaim rate villain status, are you?
The bassline of Overload is very pop. I honestly don't know how that is even in the ballpark of what you just described.
Solenciennes
Staff member
See, this just confirms to me that the Sugababes made their version impossible to replicate by putting their unique stamp on it, I just don't think it's as good as their highest highs. I'd peg it on the second level of Sugababes great songs with Round Round et al.
londonrain
Staff member
At least it's not that odd version of About A Girl that someone posted earlier in this thread. I don't even know what that was.
he/him
Speaking of, I scored that one way too generously. It needs to go now.
About You Now has so many covers
I do think the top 25 is looking a tad too single heavy. Don't get me wrong, the girls have an impeccable run of hits. But it's a shame to lose gorgeous album tracks like Situation's Heavy and Maya, which represent how effortlessly the group could embody unique styles and set themselves apart from their contemporaries.
he/him
One person's trash is another person's treasure.
Let's play it from the start and pause before we part
Looking down the barrel of a smoking gun
So it seems like I'm back on scratch again
Every Heart Broken
Score: 8.107
Highest: 10/10 x 18 (@VivaForever, @etienne, @Methyn Marquis, @Voodoo, @scottdisick94, @BeingBoring @Sprockrooster, @PCDPG, @theincredibleflipper, @JamesJupiter, @xtophermorrison, @Mina, @Terminus, @Reboot, @AllSixSugababes, @Conan, @chanex, @Jam)
Lowest: 0/10 x 1 (@PLUTO)
My score: 8/10
––
Looking down the barrel of a smoking gun
So it seems like I'm back on scratch again
Every Heart Broken
Score: 8.107
Highest: 10/10 x 18 (@VivaForever, @etienne, @Methyn Marquis, @Voodoo, @scottdisick94, @BeingBoring @Sprockrooster, @PCDPG, @theincredibleflipper, @JamesJupiter, @xtophermorrison, @Mina, @Terminus, @Reboot, @AllSixSugababes, @Conan, @chanex, @Jam)
Lowest: 0/10 x 1 (@PLUTO)
My score: 8/10
––
“Every Heart Broken” was the big ticket item on Catfights, even before its release. Initially titled “Murder One”, it was teased perhaps even more than the album’s (eventual) singles. It’s easy to see why; it’s high-concept, and moreover, a different kind of direction for the Sugababes. A vampy celebration of black widow-ism that unfolds across an entire song, where a series of men the girls use, abuse and lose are detailed in incremental chronology. The band hadn’t really done tongue-in-cheek so explicitly in their material (usually the irony came off in the performances or presentation), but Catfights was a space for a lot of new ventures.
“Every Heart Broken” is often hailed as a lyrical masterpiece, which I’m not quite on board with. Most of the turns of phrase are rather on-the-nose to cringeworthy, but I think that’s kinda the point – to have these short, campy vignettes to paint a picture of a woman smugly proud of her misdeeds and only slightly guilty. In trying to go for the ‘fun’ factor lyrically, I also think this succeeds more than “You On A Good Day” as there’s a clearer internal dynamism to the narrative here. That sidesteps the more vapid conclusion in the latter (of sticking by a deadbeat).
Structurally, it’s rather interesting; Boys 1-6 act largely as verses, interspersed with bridges and choruses, whilst Boys 7-8 are more akin to a middle eight, with a different tempo to them. It’s not quite a Xenomania affair, but it works well enough. In between, the song is held together with sweeping, string-laden, melodramatic mid-tempo choruses that are the album’s hallmark. I do find that the chorus doesn’t punch enough, with the strings pulling the song towards ballad territory when it should be veering the opposite way. That’s exactly what the live arrangements did with a rockier backing which really set the song off. Indeed, the discrepancy between the live and studio versions led to a lot of disappointment for many of you.
Vocally, the girls turn it in here, with this setting especially perfect for Amelle and Heidi as seductive temptresses (a mother-daughter duo perhaps DDD). Keisha takes lead on the choruses to great effect, but again I think the schmaltzier setting in the studio version sorta makes the vocals overpowering and a bit cacophonic. The background harmonies are, however, very plush.
For what seemed liked one of the most clearly signalled singles to not end up being one is rather strange. I think it was a case of the label panicking after the album was struggling on release and deciding to go with the most obvious uptempo left (“No Can Do”). I think this was mooted as a third single before the whole campaign was cut short. I don’t have any strong views on whether this would have done better as a second single or not (I suspect not); the campaign fate turned entirely on promotion which the label was not willing to invest in.
This was one of my favourite Catfights tracks at the start as I found the concept to be clever. It hasn’t help up quite as well over time, however, and I struggle to find a solid reason for it. I do find the song’s central conceit to be a bit gimmicky now, even if I appreciate the intentions behind it. It also struggles to be memorable on the album for me, filled as it is with more interesting and textured songs. On most other pop albums, this would be a clear highlight. On an opus like Catfights, it’s ‘just’ a very good song.
“I thought this was briliant at the time, but it has lost some of its shine over the years,” finds tylerc904 (8). Twinsies! Solenciennes (7.5) is a bit harsher, “the gloss of this has worn off for me and I’m left with lyrics that are one level above the lows of Easy and Virgin Sexy. Instrumentation is pretty epic, chorus is fantastic, the verses are… terrible. This is not a lyrical template you should ever follow again, girls.”
It's Murder On(e) The Dancefloor for Ironheade (8.5), “Oh, jeez. Haha. What other girl band would do a song about being a black widow? Seriously, I absolutely love this lyrical concept, and the music doesn't let it down either. The Babes give this topic everything they've got, with an incongruously sweet, almost affectionate edge that provides the song with a real cool, edgy feel. It's got an interesting film noir sound to go with the lyrical theme, with its bold, sweeping string arrangements offset nicely by a shuffling drum machine, and there's a nicely classic, jazzy edge to the piano playing. It doesn't sound at all over-egged for all that, and the orchestration retains a real bite to it. Very nice. (And is it me… or is Heidi enjoying this one a bit too much? Learned from Mutya the Jigsaw Killer, I presume.)”
Filler (7) makes a one point deduction, “'Murder One' would have been an 8”, as does a CasuallyCrazed (9) on a higher scale, “Would have been a 10 if they kept it titled “Murder One”. How was this not a single?” The same issue doesn’t prevent PCDPG from giving it full marks, “Lyrically one of the best songs from their entire catalogue. A very strong chorus and lovely vocals. The only downside is that it should’ve been called ‘Murder One’”.
kal (7) is on a reverse studio experience, “The studio version was a let down, after hearing the live recording.” P'NutButter (9.5) is of a similar but more generous opinion, “the live versions are better, but the song is still genius.” uno (9) concurs that “If I recall correctly, this was supposed to be a single? Not exactly sure why it wasn't, but it is a great song that truly shined when sung live. The album version wasn't nearly as good as when they sang it live, but nothing that a bit of a single-mix couldn't have fixed. So good.” The title was not a disqualification either for a still annoyed VivaForever (10), “I refuse to accept this title, partly because “Murder One” is a much better title, and partly because I HATE titles that almost match the lyric, but don't quite (in this case, "every heart THAT'S broken").”
mrdonut (7) is also a sworn officer of the Pedant Police, “I’m not sure all of those lyrics are entirely successful(!) and also it should be ‘eternally’ not ‘eternal’ #grammarpolice. Yet this strangely works.” DJHazey (8) doesn’t let bad grammar get in the way of popping his puss, “I definitely like what this song shoots for (no pun intended). Interesting and dark lyrical story telling combined with smooth melodies have me captivated for sure. Amelle's "I know, nothing lasts eternal in life" is the personal highlight and I'd love to hear what an entire song would be like with that melody as the main one.” Hmm, that’d sound quite nice actually.
acl (8) speaks in bro, “Sick harmonies, on point individual vocals, some dark lyrics and interesting song structure. Just the chorus sounds a little basic.” Blayke shells out his last non-10(!), giving this a 8 and pairing it with mismatched commentary, “Overrated song that could have been a 10 if the production hit a bit harder. I think all the girls really laid down some great vocals on this song. Amelle’s line with that Italian word was a nice touch. This should have been the second single. It could have saved the campaign.” londonrain (8) observes that it’s a “Slightly bizarre storyline and the metaphors start to get quite laboured towards the end (how many boys did we need to hear about?), but this is still one of the stronger tracks on Catfights, if not quite peak 3.0."
It’s still raining in Southern Europe for Constantino (9), “I’m loving the patch of melodramatic power ballads/mid-tempos they’ve shoved in the middle of this album. Give me those rainy day pick-me-up anthems that I need, queens!” Aspiring Black Widow Runawaywithme (9) gushes, “After the massive overdramatic moment of the last song, the subtlety here really works and Heidi’s opening just gets my heart skipping. I think that they all really sound beautiful here and again I just get this special feeling whenever I listen to it and it makes me feel nostalgic but really hopeful at the same time [Ed: DDDDD], I think this album is where they re-found whatever they lost Mutya left as up to this point it is an emotional, innovate and charming listen. It’s a shame they lost it again with shitshow 7, because this is one of my favourite albums and I see it’s a more grown up One Touch which for me is there “glory album” followed by this and Three.”
Deborux (2) is the only one of the low scorers to comment, saying that “this song makes me cringe.” Evolutionary cul-de-sac PLUTO is the only one of the low scorers to gif, defecating xe's 0 into my inbox along with this:
On the opposite end of the spectrum, it’s Jam (10) who nearly gave it the highest praise, “probably my 11 runner up. Adore it. Could have been a really fun single.” A&R agent Mina (10) feels likewise, “This would have been an epic single - big missed opportunity here.”
Chanex (10) enjoys being a fragrant hoe, “’I chose Chanel, so much for chastity’ alone how can I not give this a 10?” Joining ha behind the velvet rope is Sprockrooster (10), “The story telling is well executed in this one. Though some of the reasons 'to murder' are a bit extra; it works as a charm. Keisha chosing Chanel over her broke ass boyfriend is iconic. I love her.” Lost In Japan. (9.5) likes it when dreams come true, “I think I had already picked this as a fave before the album was released based only on a description of the subject matter. Thank God it is as amazing as it sounded.” Fab.
“Every Heart Broken” is often hailed as a lyrical masterpiece, which I’m not quite on board with. Most of the turns of phrase are rather on-the-nose to cringeworthy, but I think that’s kinda the point – to have these short, campy vignettes to paint a picture of a woman smugly proud of her misdeeds and only slightly guilty. In trying to go for the ‘fun’ factor lyrically, I also think this succeeds more than “You On A Good Day” as there’s a clearer internal dynamism to the narrative here. That sidesteps the more vapid conclusion in the latter (of sticking by a deadbeat).
Structurally, it’s rather interesting; Boys 1-6 act largely as verses, interspersed with bridges and choruses, whilst Boys 7-8 are more akin to a middle eight, with a different tempo to them. It’s not quite a Xenomania affair, but it works well enough. In between, the song is held together with sweeping, string-laden, melodramatic mid-tempo choruses that are the album’s hallmark. I do find that the chorus doesn’t punch enough, with the strings pulling the song towards ballad territory when it should be veering the opposite way. That’s exactly what the live arrangements did with a rockier backing which really set the song off. Indeed, the discrepancy between the live and studio versions led to a lot of disappointment for many of you.
Vocally, the girls turn it in here, with this setting especially perfect for Amelle and Heidi as seductive temptresses (a mother-daughter duo perhaps DDD). Keisha takes lead on the choruses to great effect, but again I think the schmaltzier setting in the studio version sorta makes the vocals overpowering and a bit cacophonic. The background harmonies are, however, very plush.
For what seemed liked one of the most clearly signalled singles to not end up being one is rather strange. I think it was a case of the label panicking after the album was struggling on release and deciding to go with the most obvious uptempo left (“No Can Do”). I think this was mooted as a third single before the whole campaign was cut short. I don’t have any strong views on whether this would have done better as a second single or not (I suspect not); the campaign fate turned entirely on promotion which the label was not willing to invest in.
This was one of my favourite Catfights tracks at the start as I found the concept to be clever. It hasn’t help up quite as well over time, however, and I struggle to find a solid reason for it. I do find the song’s central conceit to be a bit gimmicky now, even if I appreciate the intentions behind it. It also struggles to be memorable on the album for me, filled as it is with more interesting and textured songs. On most other pop albums, this would be a clear highlight. On an opus like Catfights, it’s ‘just’ a very good song.
“I thought this was briliant at the time, but it has lost some of its shine over the years,” finds tylerc904 (8). Twinsies! Solenciennes (7.5) is a bit harsher, “the gloss of this has worn off for me and I’m left with lyrics that are one level above the lows of Easy and Virgin Sexy. Instrumentation is pretty epic, chorus is fantastic, the verses are… terrible. This is not a lyrical template you should ever follow again, girls.”
It's Murder On(e) The Dancefloor for Ironheade (8.5), “Oh, jeez. Haha. What other girl band would do a song about being a black widow? Seriously, I absolutely love this lyrical concept, and the music doesn't let it down either. The Babes give this topic everything they've got, with an incongruously sweet, almost affectionate edge that provides the song with a real cool, edgy feel. It's got an interesting film noir sound to go with the lyrical theme, with its bold, sweeping string arrangements offset nicely by a shuffling drum machine, and there's a nicely classic, jazzy edge to the piano playing. It doesn't sound at all over-egged for all that, and the orchestration retains a real bite to it. Very nice. (And is it me… or is Heidi enjoying this one a bit too much? Learned from Mutya the Jigsaw Killer, I presume.)”
Filler (7) makes a one point deduction, “'Murder One' would have been an 8”, as does a CasuallyCrazed (9) on a higher scale, “Would have been a 10 if they kept it titled “Murder One”. How was this not a single?” The same issue doesn’t prevent PCDPG from giving it full marks, “Lyrically one of the best songs from their entire catalogue. A very strong chorus and lovely vocals. The only downside is that it should’ve been called ‘Murder One’”.
kal (7) is on a reverse studio experience, “The studio version was a let down, after hearing the live recording.” P'NutButter (9.5) is of a similar but more generous opinion, “the live versions are better, but the song is still genius.” uno (9) concurs that “If I recall correctly, this was supposed to be a single? Not exactly sure why it wasn't, but it is a great song that truly shined when sung live. The album version wasn't nearly as good as when they sang it live, but nothing that a bit of a single-mix couldn't have fixed. So good.” The title was not a disqualification either for a still annoyed VivaForever (10), “I refuse to accept this title, partly because “Murder One” is a much better title, and partly because I HATE titles that almost match the lyric, but don't quite (in this case, "every heart THAT'S broken").”
mrdonut (7) is also a sworn officer of the Pedant Police, “I’m not sure all of those lyrics are entirely successful(!) and also it should be ‘eternally’ not ‘eternal’ #grammarpolice. Yet this strangely works.” DJHazey (8) doesn’t let bad grammar get in the way of popping his puss, “I definitely like what this song shoots for (no pun intended). Interesting and dark lyrical story telling combined with smooth melodies have me captivated for sure. Amelle's "I know, nothing lasts eternal in life" is the personal highlight and I'd love to hear what an entire song would be like with that melody as the main one.” Hmm, that’d sound quite nice actually.
acl (8) speaks in bro, “Sick harmonies, on point individual vocals, some dark lyrics and interesting song structure. Just the chorus sounds a little basic.” Blayke shells out his last non-10(!), giving this a 8 and pairing it with mismatched commentary, “Overrated song that could have been a 10 if the production hit a bit harder. I think all the girls really laid down some great vocals on this song. Amelle’s line with that Italian word was a nice touch. This should have been the second single. It could have saved the campaign.” londonrain (8) observes that it’s a “Slightly bizarre storyline and the metaphors start to get quite laboured towards the end (how many boys did we need to hear about?), but this is still one of the stronger tracks on Catfights, if not quite peak 3.0."
It’s still raining in Southern Europe for Constantino (9), “I’m loving the patch of melodramatic power ballads/mid-tempos they’ve shoved in the middle of this album. Give me those rainy day pick-me-up anthems that I need, queens!” Aspiring Black Widow Runawaywithme (9) gushes, “After the massive overdramatic moment of the last song, the subtlety here really works and Heidi’s opening just gets my heart skipping. I think that they all really sound beautiful here and again I just get this special feeling whenever I listen to it and it makes me feel nostalgic but really hopeful at the same time [Ed: DDDDD], I think this album is where they re-found whatever they lost Mutya left as up to this point it is an emotional, innovate and charming listen. It’s a shame they lost it again with shitshow 7, because this is one of my favourite albums and I see it’s a more grown up One Touch which for me is there “glory album” followed by this and Three.”
Deborux (2) is the only one of the low scorers to comment, saying that “this song makes me cringe.” Evolutionary cul-de-sac PLUTO is the only one of the low scorers to gif, defecating xe's 0 into my inbox along with this:
On the opposite end of the spectrum, it’s Jam (10) who nearly gave it the highest praise, “probably my 11 runner up. Adore it. Could have been a really fun single.” A&R agent Mina (10) feels likewise, “This would have been an epic single - big missed opportunity here.”
Chanex (10) enjoys being a fragrant hoe, “’I chose Chanel, so much for chastity’ alone how can I not give this a 10?” Joining ha behind the velvet rope is Sprockrooster (10), “The story telling is well executed in this one. Though some of the reasons 'to murder' are a bit extra; it works as a charm. Keisha chosing Chanel over her broke ass boyfriend is iconic. I love her.” Lost In Japan. (9.5) likes it when dreams come true, “I think I had already picked this as a fave before the album was released based only on a description of the subject matter. Thank God it is as amazing as it sounded.” Fab.
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