The Sugababes Discography Rate

DDDD I didn't want to bring this up this horror.

Yep, updated!




We're at a near equilibrium between all the albums. What do y'all think is going to be last track standing on each album?​

Shouldn't this be top 22 or are we bringing a song back, possibly 'WHO'?
Your stare swallows me, and I can hardly breathe

Somewhere in the back of my mind

Then again what's another little sin?



Unbreakable Heart
Score: 8.139
Highest: 10/10 x 20 (@VivaForever, @etienne, @P'NutButter, @Voodoo, @Jonathan27, @kal,@Methyn Marquis, @stopthestatic, @Terminus, @Shockbox, @Robsolete, @Robinho#1, @AllSixSugababes, @RJF, @scottdisick94, @HRH, @chanex, @Uno, @acl, @Blayke)
Lowest: 4/10 x 1 (@roux)
My score: 8.5/10

I’ve gone on at length about what a step up in terms of songwriting Catfights represented for 3.0, and for the band more broadly. “Unbreakable Heart” is excellent proof of that. It details an internal monologue about the risks and rewards of committing to love, eventually siding with the latter. But the way it does so is so evocative and deeply-felt that it’s just damn impressive. The repeated refrain of “What good is an unbreakable heart?” is such a sage, affirming and empowering call to action to commit, to take risk, to stave off regret. It’s such a simple sentiment, but its clarity and succinct expression makes it feel revelatory.

Aiding this, in bounds, is the song’s remaining get-up. The understated production which kicks up a gear for the choruses; the stunning vocals from all three, each attuned to a different emotional register (Amelle ponderously wistful, Keisha warmly magisterial and Heidi pithily playful); and little details which make a good song great. Like Heidi’s almost-vocodored “this is how it begins” bits; that middle eight which repeats the chorus in a lower tempo; the glowworm like intermittedly flickering piano; and that “then again what’s another little sin?” snuck in to lead into the final chorus.

The overall result is this polished, supremely classy effort with an astuteness that almost transcends the song. And in a cohesive suite like Catfights, that transcendental feeling adds to the worth of the album perhaps even more than an individual song. It’s one of the many reasons the album is more than the sum of its parts, which of course can only be said of just one other album of theirs. And if One Touch found the Sugababes older than their years, Catfights, and songs like these, find them having finally caught up to those years, but the result is not any disappointment – that they’ve finally caught up but also hit a ceiling. Instead, the actual growing up corresponds to an increased acuity. The wisdom here is impressive not because of unexpected maturity (as was the case with the precocious musings of three teenagers) but because it feels, finally, universal. This far into the band’s collective age, that is … beautiful.

“Pleasant” burps Mina (7). tylerc904 has a few more words for the same score, “I've always found it odd that a Max Martin/Sugababes collaboration never became a fav, but this always felt like bottom tier on the album.” Meanwhile, londonrain (5.5), bless his heart, tries to jump off board very unsuccessfully, “The lyrics to this song are really lovely and "what good is an unbreakable heart" comes off so well. Shame the solos were so badly distributed here. This is basically the Amelle and Keisha show and Amelle fluffs it, mumbling her way through her opening lines and basically stripping the lyrics of all emotion. Even Keisha seems a bit muted here, and Heidi and her much-needed vocal clarity seem totally absent (was she off sick when they recorded this?) The big emotional payoff in the chorus doesn't really materialise, and so we're left with an average song which should have been fantastic but isn't.”I have to disagree vehemently. Instead of being rather flat and screechy as she was prone to in the Change days, there’s this burning control to Amelle’s turn here, demonstrating her increased range. Keisha and Heidi are perfect complements to this, and the chorus is a tour-de-force.

Chorus brigade! mrdonut (7.5): “that chorus is really rather good.” PCDPG (9): “A big bombastic chorus and fun vocals from Heidi.” CasuallyCrazed (7.5): “That chorus is gorgeous, but something about the production keeps the song from truly soaring.”

Here’s Ironheade (7.5) to substantiate this claim, “Ehh, once again, we get percussion over melody. Who turned the drums up that loud, burying the poignant keyboard melodies deeper than they should be, and decided that those squeaky backing vocals were a good idea? And it's a shame, because at the core, this could have been a nice low-key song with a genuine emotional core trying to break free from the weirdly bodged production. We also have a lovely soulfully belted chorus to enjoy, and all the girls pulling out the best vocal performances they can as they always do on the ballads – especially Amelle, whose phrasing and tone are quite excellent on this one. Good lyrics, too. Not much more to say.”

Filler (8) repents, “Very fond of the childlike, taunting "another little sin" bridge, and also the dying flickering piano throughout.” Sprockrooster (9) makes a bit of a wrong call, “First single without a doubt.” I mean, their first ballad lead single? DJHazey (9) has goosebumps, “I love when Heidi goes really 'cutesy' with her voice (i.e. that prechorus gives me chills).” stopthestatic (10) also asks us to observe “That pre-chorus though… such a moment. Spectacular. Hands down an album and 3.0 highlight.”

Runawaywithme (8.5) sketches us a little vignette, “A really nice delicate moment, I just love the lyrics to this as I really relate to them. The upbeat hopeful melody and the downcast lyrics make a beautiful contradiction and the chorus is a relatable yet uplifting and charming moment. it makes me think of a slow motion clip me of running in the pouring rain after a boy I just turned down and then realised I love as he is about to walk away, and It just really fits that moment, and I get chills at the outro.” uno (10) also stans the relatable queens, “Another lyrical triumph for the girls - such a mature, catchy, relatable song.” kal (10) is caught off guard, “Simply beautiful. Deeply emotional. Thought-provoking even. I never thought 3.0 could record something this good.” P'NutButter (10) simulatenously stans “Side Chick” as well, “those last two tracks are outstanding.”

Solenciennes (9.5) makes a good point about 3.0’s vocal experimentation, “I find with this album, the song writing really steps up a notch on most tracks and that’s no more evident than on this track. Heidi’s vocals are the standout here for me, used to great effect on the “this is how, it begins…” and more generally I love how experimental this line up were with dishing out the vocals, because things were often quite formulaic with the previous line up. The actual track itself is great, the song is quite good, I like it.” Constantino (9) likes waaater and don’t need no lemonade-ade-ade-ade-ade-ade, “This is really gorgeous! I’m so glad they didn’t try and milk the dated horn-led production from “Girls” throughout the album; I much prefer this style of production for them. It’s got a melancholic vide to it which is apt because it’s basically a Keisha solo track and we all know what happened next…” Shockbox (10) is effusive, “One of the best songs they've done and a serious contender for my 11.”

The single 11 was really weighing acl (10) down, “Amelle sounds heartfelt and, Keisha serves VOCALS all over this that can scalp ANYONE. If I had a few 11’s 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.” Chanex (10) also faced the same dilemma, “Nnnnh... it should be my 11 I rated it higher in the Ultimate PJ but the other one I put on that list had at least one other person give it points and it's going to do better here and I want to help it plus it's really like picking your favorite child isn't it? I live and die by the lesson of the chorus, it's really come through for me when I'm scared to do something, not just in the context of relationships (although of course that!) but also trying to give it your best shot even though you might fail at it.” To which Epic Chocolat (9.3) responds, “Wise, very wise words.”

Stop the press cos Blayke (10) has some praise for Amelle! “Amelle really makes this song for me. Her first verse is just beautiful. Her vulnerability sounds believable. I like Heidi using different voices to accompany some of the harmonies throughout the song. This is one of my favourites from the album, despite the Keisha heavy chorus being a bit screechy sometimes.” Finally, here’s VivaForever (10) with a very heartfelt parting shot, “This is one of my absolute favorite Sugababes songs lyrically, if not my single favorite. ‘It's all or it's nothing – that's why it hurts. What good is an unbreakable heart?' I adopted this as my motto at one point when I was really struggling with depression.”

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Amelle is definitely the highlight of Unbreakable Heart. I normally love Keisha's vocals but Amelle would have suited the chorus better.
Whatever Makes You Happy and Follow Me Home are good songs but don’t belong to Top 20. Everybody has their favourites but you did a really good job overall!
If only effing Flatline could go already...or at least New Year or About You Now? Sadly (for me) I think those are all here to stay for a while.
Why does CHANGE, of all albums, have more tracks in the top 21 then Catfights? This is a fucking travesty. Denial & AYN can stay, but my god NGDA just fuck offffffffffffff

Unbreakable Heart >>> Denial >>>>>>>>> Never Gonna Die Again
Thats sad. Unbreakable Heart its easily one of their best non-single songs of all time. Its so beatuiful. Should've been a single

Then again it got higher than i thought it would so its fine

Flatline, Side Chick, Whatever Makes You Happy, Follow Me Home and Conversations Over can go next