He/Him
You would really keep Denial over all these?
The Sugababes Discography Rate
- Thread starter beyoncésweave
- Start date
You would really keep Denial over all these?
Yes, at the very least over Flatline and Conversations Over.
londonrain
Staff member
About You Now had 10s from almost half the voters in this rate and still somehow got beaten by Denial.
I know Denial is good, but it's not THAT good.
I know Denial is good, but it's not THAT good.
Solenciennes
Staff member
To go back to the About You Now analysis - it is an undeniably great pop song. That's not up for debate, for most people anyway, it's a Ronseal does-what-it-says-on-the-tin pop song. Where I suspect most fans find fault with it is that there's none of the usual Sugababes quirk to the lyrics, which is something we'd come to expect e.g. "in my world I take him out for tea", "I'm busy throwing hints", "sooner or later this drunken elevator's gonna stop where I'm supposed to be", "your stare swallows me" etc etc etc... In previous singles and across previous albums, there were lots of clever little thought provoking word plays and unique takes on common phrases that add up to this subconscious idea of what a Sugababes song is, many of their singles were straight forward pop songs but they had clever lyrics to boot.
About You Now is just a straight forward, simple love song, there's not much in the way of clever turns of phrase or anything to distinguish it as uniquely Sugababes in my opinion and I think that's why it's suffered here - Denial on the other hand has a more of a Sugababes identity to it, the verses are fragments of sentences which reminds me of previous singles like Round Round in it seeming like a bunch of things thrown together and being carried on the strength of the energy of the song, but the lyrics themselves seem inspired... About You Now it just doesn't have any of that unique quality to it.
About You Now is just a straight forward, simple love song, there's not much in the way of clever turns of phrase or anything to distinguish it as uniquely Sugababes in my opinion and I think that's why it's suffered here - Denial on the other hand has a more of a Sugababes identity to it, the verses are fragments of sentences which reminds me of previous singles like Round Round in it seeming like a bunch of things thrown together and being carried on the strength of the energy of the song, but the lyrics themselves seem inspired... About You Now it just doesn't have any of that unique quality to it.
Solenciennes
Staff member
To be clear, I think on its own merits it is a 10/10 pop song and they gave a vocal performance that is very 'them', I just think in a discography rate it's only natural (and fair) to compare like with like and I find that it comes up short against other songs on the lyrics front, I still gave it a 9/10.
Yeah, nearly everyone pointing out whatever genericness exists in the song, including me, scored it rather high; it wouldn't have placed at #15 otherwise. There's plenty to appreciate in the song and that isn't necessarily devalued by pointing out its differences with the rest of the band's catalogue. That is entirely the point of a rate, especially at this eleventh hour where the differences in quality between each song is relatively minimal, requiring a discussion of relative merits, both actual and perceived.
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ohnostalgia
Staff member
She/her
Well I don't think About You Now is a 10/10 pop song- even if somebody else sang it.
F
Former member 21294
That last page needs Jesus honestly.
Like the sand to the tide
No point in talking round in circles
No point in talking round in circles
Uncut my soul
Caught In A Moment
Score: 8.884
11 x 1: @kal
Highest: 10/10 x 37 (@2014, @ohdenny, @LE0Night, @LPMA, @Solenciennes, @mrdonut, @tylerc904, @Voodoo, @Sprockrooster, @lalaclairi_, @Lucas, @Island, @DJHazey, @SmashHitter, @marie_05, @JamesJupiter, @CorgiCorgiCorgi, @Lost In Japan., @stopthestatic, @Reboot, @ssa, @londonrain, @supersoon, @High Heel Feminist, @AllSixSugababes, @berserkboi, @Runawaywithme, @Aester, @Mr.Arroz, @chanex, @Zar-Unity, @JuanJose, @Black Topanga, @Uno, @Blayke, @roux)
Lowest: 5/10 x 1 (@cryctall)
My score: 9.5/10
––
Most pop albums are lucky to feature a perfect ballad. Three features not one but a whole trio of them. They are calculatedly, but not mechanically, beautiful: arresting yet modest production, magnificent lyricism, and some of the band’s best vocals. The three interrelate to each other in beautiful, arresting and interesting ways and in doing so, redefine the ballad form in the terms set by the band previously (most notably in “Stronger”). Identifying this setup is the foundation to considering this.
“Caught In A Moment” is gorgeous. Classically gorgeous, in the sense of swelling strings and controlled pace and stirring vocals. There’s the production, immaculate strings and piano paired with an insistent drumbeat and soft guitars. The vague trip-hop elements pull the song towards a melancholic ambience, even as the more classical elements are more straightforwardly stirring. Like the best of the Sugaballads, it feels both classic and contemporary – something that appears traditional but whose references are unplaceable, ultimately making the song seem timeless. It feels simple, yet massive at the same time.
There are the vocals, Mutya leading off both verses with her deep tone a perfect match for the song’s slow simmering. Then Heidi, almost unexpectedly, takes over on lead chorus vocals and proves that her icy-smoky voice is an equal match – that sense of on-the-edge-of-breaking conveying all the fey fragility that is required of the song. Keisha steps in at the last hour for an insistent middle eight followed by her usual volley of adlibs – the expectation of them is almost rote by this point, but she delivers them so well, never allowing them to overpower the song’s pace (contrasting with her more explosive theatrics tailored for less languid pieces). The band pulls the package together tightly with fantastic harmonies – the outro especially is so lovely. Individually and together, these are all the elements of a band functioning at the highest level; if it seems expected or routine somehow, it’s because the execution is at that level nearly continuously. After all, the peaks stand out less if there are relatively fewer troughs. That was the Sugababes’ ballad game at this point, and certainly what Three provided.
Finally, there’s the lyrics. A criticism often levelled at the classic Sugaballads is a lack of lyrical depth. To be sure, the lyrical reach is not particularly intensive or deep here, or the rest of the Three ballad trinity for that matter, but it is so astutely judged for the song. It only intends to convey a moment of perfect romantic contentment, and it does so with pithy, poetic flickers that are so alluring in their brevity, from the very first “your stare swallows me” to “spoon-feed my heart” to “uncut my soul” to the rhyming patters in the bridges (“drip by drip” and so on). There’s something to be said about being judicious with words, allowing them to pair and complement but not overtake the soundscape. In that sense, the lyrics in “Caught In A Moment” melt into the song.
Compared to “Too Lost In You” and “Conversation’s Over”, “Caught” is the most languid. Its tempo and pace are slower, and its lyrical ruminations are less visceral (either in romantic infatuation or relationship severance, respectively). I’ve gone back and forth so much over how this compares to the other two, intuiting that this is the weakest but not being able to solidly identify why. It just feels like it despite the intellectual appreciation remaining the same. Because of this, I feel it was perhaps an unwise choice as the album’s fourth and last single – one feels that the more immediate “Conversation’s Over” may have worked better, perhaps even yielding a higher charting than the #8 this managed. The release did, however, produce one of the band’s finest videos. Shot in black and white to an old Hollywood theme, it features the girls in stunning elegance, lounging about and being all sultry as silhouettes of their unbidden trysts are interlaced. They look, and sound, nothing less than completely classy.
In that moment, it highlights what is hard to get away from: the song is pure romance. Recognising that you’re falling in love. Appreciating in quiet wonder what it’s doing to you. And being at complete peace with that. It might not be particularly complicated, but it lingers and lingers in the mind, if not in memory then definitely in feeling. One perfect moment.
stopthestatic (10) shades the other single ballad from Three, "Yes, it's way better than Too Lost In You. One of the best ballads they ever did..." roux (10) goes even further, “This album is pretty ballad-heavy (in a good way) but this, for me, narrowly beats the others - even TLIY.” Deborux (9) also refers to the Stanstead Airport bop cryptically, “the “other” more famous ballad gets most of the attention but I’ve always preferred this. Beautiful song, beautifully sung.”
Once upon time, a depraved little demon bot decided to popularise the idea that the song referred to a carnal act. I have helpfully censored the poor souls that somehow caught onto this filth or reference it otherwise, for your spiritual convenience and so as not to defile my rate. I am sure you’ll all thank me. CasuallyCrazed (9.5) asks “Did Mutya seriously confirm this song was about I_CANNOT_LISTEN_TO_SONGS_PROPERLY or was that just a Popjustice rumour?” I don’t know? Mina (7) has many filthy voices inside her head, “After hearing other posters mention that this song reminds them of I_CANNOT_LISTEN_TO_SONGS_PROPERLY, I can't unhear it.” I can forgive Ironheade’s (8.5) minor transgression as he breaks the song down as beautifully as the song itself is, “Next in the "Stronger" lineage, and not quite as good. Which, really, is not saying very much. This time, they switch it up by adding a little clean guitar in the background and heavier piano chords, and the arrangement here is very pretty indeed (quick, sprinkle some rose petals and light the candles!). Mutya, wisely, is allowed to dominate the song, proving equally as good at the I_CANNOT_LISTEN_TO_SONGS_PROPERLY anthem as at slightly terrifying kiss-offs. Plus, Heidi is proving to have a real gift for the ballads by this point, with her sweet vocals on the chorus exuding just the right mixture of vulnerability and calm. Even when the strings really get let out of the bag at the end, things are never allowed to get too sappy. Gorgeous song.” And Filler (7) just … sigh, ‘av it, “I prefer oral.” MrJames (6) taunts “You can hate me but I've always found this a bit of a drag.” Well I do hate you, yes. Meanwhile, ohnostalgia (7.5) is far more polite, “Vocally beautiful without a doubt, but I don't have a strong connection with “Caught in a Moment”. There's something that doesn't quite click for me.”
Many of you took to comparisons with other Sugaballads. Solenciennes revels in Three, “beautiful song, it’s unusual for any act to release more than one ballad in an album campaign but with “Too Lost In You” and “Caught In A Moment” in the fold, it’s no wonder Three spawned two of them. All three girls shine, though Mutya probably steals the show with her husky voice being perfectly suited to the dewy eyed romance of it all. This is not about fucking I_CANNOT_LISTEN_TO_SONGS_PROPERLY so just stop it, @Island.” Yas let it know.mrdonut (10) is knocked out, “Good old Karen Poole, not to mention the welcome arrival of Marius’s classic strings. “Stronger”, “Too Lost” and “Run for Cover” may be the go-to Sugababes ballads for many listeners but I’ll always treasure this one too. The verses and bridges in particular hold such power. Fucking hell Three is an impressive album isn’t it?”
P'NutButter (8) is always thirsty for more strings, “Classy ballad, more violin and it would be a 10.” acl (8) is not a shower, “This is a grower for me as I found it boring as hell as a single but like it much more now.” Remorque (8) doesn’t let a bit of old sequencing pressedness get in the way of enjoying it now, “My 18 year old self used to find this a clunker, because it kinda ruins the flow the album has going with its first uptempo’s… But then after a while it totally opened itself up to me. Mutya’s verses are fucking brilliant, with her and Heid sounding lovely during the chorus, Heidi sounding lush during the chorus and Keisha giving it her all during the middle 8. And after all that if you’re not totally sold on it with Mutya’s outro? molly_you_in_danger_girl.gif.”
The Aunt Margaret Fan Club is out in full force. Secretary uno (10) gets smug and indignant, “Heidi is only good for middle-8s, you say? HAH. This song also marks the moment Keisha started killing us all with her amazing final chorus ad-libs.” Treasurer tylerc904 (10) calls it “My favorite Sugaballad. Heidi owns it and rightfully gets the chance to truly shine.” Youth representative Constantino (9) exclaims “WAIT at Heidi stealing the show completely here!!! Oh y’all wanted a TWIST??? This took a few listens to really click but FUCK does it creep up on you after a while…” Finally, President Chanex (10) has a screeching fit of Rock In Rio proportions, “Heidi on the chorus! HEIDI ON THE CHORUS! Has she ever sounded better outside of a middle 8? Snatch that moment Heidi. Snatch it while you can. "Involved in a feeling" is such an elegant turn of phrase and all of the lyrics are just beautiful. (OK I gave this a 9 but fell back in love with it during the rate...it's such a 10. I'm not scared no more, it feel divine. Apologies for ever thinking otherwise!”
DJHazey (10) brings his own shovel for his funeral, “Low-key considered it for my 11. Mutya reads your obituary during the verses, because there's no way you're surviving this. One of my favorite Heidi moments occurs in that chorus with those little affected breaks in her voice. Probably a bit 'droopy' for most fans to call it a favorite (where's da bawps doe? right) but I'll be damned to see this go before the Top 20.” Lost In Japan. (10) is utterly dissolving into it, “Lush, melancholic, one of the best girl group ballads of all time. I could listen to it on repeat for hours and just get lost in it. Heidi leading the chorus as opposed to just a middle 8 is a nice change and she is great, but it is Mutya’s vocals that are the real standout - the perfect match for this backdrop. The MKS version of it was also incredible.” londonrain (10) also namechecks MKS and further triggers me, “surprised that this did as badly in the UK as it did, but I suspect the issue was that it was a bit too similar to “Too Lost In You”, and at the time I didn't think it was as good as “Too Lost In You”. It's still a great song, and has grown on me over time, especially now that MKS has started to sing it again.” Blayke (10) is on the same retro buzz but gets unnecessarily shady, “What a beautiful song. I would never have chosen it for a single but it probably got those contemporary mums on board back in 2003. Let’s face it, Mutya’s verses are the pure foundation of the song’s greatness. Queen of adlibs shining her crown! I must admit, the girls (with Siobhán) perform it much better now than then.”
ssa (10) has a haiku for us, “Heidi’s voice. Terrible single. Massive melody.” Sprockrooster (10) is not bitter “Definitely a true underrated single that has very strongly stood the test of time. In fact, it got even better.” PCDPG (9.5) throws some love for the video as well, “One of their best ballads along with a gorgeous music video.” As does berserkerboi (10), “A beautiful song and a gorgeous video clip. Thinking back it is probably not their best ballad but one of the simplest and most affecting.”
Runawaywithme (10) turns the knife in, with both moving personal anectode and tying the song to the band, “God, I love this song. Mutya sounds so golden with her smooth tone, she sounds so emotive and genuine and she really truly shines here, her lower harmonies in the background just melt me and her verse’s give me chills, I really love the lyrics too and they show a really mature and unique outlook on that moment in a relationship and something about the way they are sing hits me really hard as it reminds me of my grandad who I sadly lost just as I got to know him. And Hedi also really works in the chorus and the harmonies that swirl in the background sweep me away as does the bridge. The songs atmosphere of being dark and a little dangerous yet hopeful at the same time really works. The “oohs” at the end with the guitar are the cherry on top of a perfect song cake. Side note the MKS acoustic performance of this on YouTube is one of my favourite ever videos, it still gets ME teary eyed to this day seeing Siobhán shine on one of my all-time fave suga songs that I thought she would never get a chance to sing.” Now I’m welling up.
Let’s end with our 11, which comes from a member who I remember from my earliest days here; whose 11 I was pretty certain of even before this; and whose presence and participation in this rate has been so personally gratifying for me. Take it away my dear kal! “I remember how devastated I was when this was chosen as a fourth single instead of “Million Different Ways”.Oh how wrong I was! has grown to be my favourite Sugababes ballad ever. It’s effortlessly beautiful and a quintessential part of their discography. Kudos to Jony Rockstar for the atmospheric instrumental.”
“Caught In A Moment” is gorgeous. Classically gorgeous, in the sense of swelling strings and controlled pace and stirring vocals. There’s the production, immaculate strings and piano paired with an insistent drumbeat and soft guitars. The vague trip-hop elements pull the song towards a melancholic ambience, even as the more classical elements are more straightforwardly stirring. Like the best of the Sugaballads, it feels both classic and contemporary – something that appears traditional but whose references are unplaceable, ultimately making the song seem timeless. It feels simple, yet massive at the same time.
There are the vocals, Mutya leading off both verses with her deep tone a perfect match for the song’s slow simmering. Then Heidi, almost unexpectedly, takes over on lead chorus vocals and proves that her icy-smoky voice is an equal match – that sense of on-the-edge-of-breaking conveying all the fey fragility that is required of the song. Keisha steps in at the last hour for an insistent middle eight followed by her usual volley of adlibs – the expectation of them is almost rote by this point, but she delivers them so well, never allowing them to overpower the song’s pace (contrasting with her more explosive theatrics tailored for less languid pieces). The band pulls the package together tightly with fantastic harmonies – the outro especially is so lovely. Individually and together, these are all the elements of a band functioning at the highest level; if it seems expected or routine somehow, it’s because the execution is at that level nearly continuously. After all, the peaks stand out less if there are relatively fewer troughs. That was the Sugababes’ ballad game at this point, and certainly what Three provided.
Finally, there’s the lyrics. A criticism often levelled at the classic Sugaballads is a lack of lyrical depth. To be sure, the lyrical reach is not particularly intensive or deep here, or the rest of the Three ballad trinity for that matter, but it is so astutely judged for the song. It only intends to convey a moment of perfect romantic contentment, and it does so with pithy, poetic flickers that are so alluring in their brevity, from the very first “your stare swallows me” to “spoon-feed my heart” to “uncut my soul” to the rhyming patters in the bridges (“drip by drip” and so on). There’s something to be said about being judicious with words, allowing them to pair and complement but not overtake the soundscape. In that sense, the lyrics in “Caught In A Moment” melt into the song.
Compared to “Too Lost In You” and “Conversation’s Over”, “Caught” is the most languid. Its tempo and pace are slower, and its lyrical ruminations are less visceral (either in romantic infatuation or relationship severance, respectively). I’ve gone back and forth so much over how this compares to the other two, intuiting that this is the weakest but not being able to solidly identify why. It just feels like it despite the intellectual appreciation remaining the same. Because of this, I feel it was perhaps an unwise choice as the album’s fourth and last single – one feels that the more immediate “Conversation’s Over” may have worked better, perhaps even yielding a higher charting than the #8 this managed. The release did, however, produce one of the band’s finest videos. Shot in black and white to an old Hollywood theme, it features the girls in stunning elegance, lounging about and being all sultry as silhouettes of their unbidden trysts are interlaced. They look, and sound, nothing less than completely classy.
In that moment, it highlights what is hard to get away from: the song is pure romance. Recognising that you’re falling in love. Appreciating in quiet wonder what it’s doing to you. And being at complete peace with that. It might not be particularly complicated, but it lingers and lingers in the mind, if not in memory then definitely in feeling. One perfect moment.
stopthestatic (10) shades the other single ballad from Three, "Yes, it's way better than Too Lost In You. One of the best ballads they ever did..." roux (10) goes even further, “This album is pretty ballad-heavy (in a good way) but this, for me, narrowly beats the others - even TLIY.” Deborux (9) also refers to the Stanstead Airport bop cryptically, “the “other” more famous ballad gets most of the attention but I’ve always preferred this. Beautiful song, beautifully sung.”
Once upon time, a depraved little demon bot decided to popularise the idea that the song referred to a carnal act. I have helpfully censored the poor souls that somehow caught onto this filth or reference it otherwise, for your spiritual convenience and so as not to defile my rate. I am sure you’ll all thank me. CasuallyCrazed (9.5) asks “Did Mutya seriously confirm this song was about I_CANNOT_LISTEN_TO_SONGS_PROPERLY or was that just a Popjustice rumour?” I don’t know? Mina (7) has many filthy voices inside her head, “After hearing other posters mention that this song reminds them of I_CANNOT_LISTEN_TO_SONGS_PROPERLY, I can't unhear it.” I can forgive Ironheade’s (8.5) minor transgression as he breaks the song down as beautifully as the song itself is, “Next in the "Stronger" lineage, and not quite as good. Which, really, is not saying very much. This time, they switch it up by adding a little clean guitar in the background and heavier piano chords, and the arrangement here is very pretty indeed (quick, sprinkle some rose petals and light the candles!). Mutya, wisely, is allowed to dominate the song, proving equally as good at the I_CANNOT_LISTEN_TO_SONGS_PROPERLY anthem as at slightly terrifying kiss-offs. Plus, Heidi is proving to have a real gift for the ballads by this point, with her sweet vocals on the chorus exuding just the right mixture of vulnerability and calm. Even when the strings really get let out of the bag at the end, things are never allowed to get too sappy. Gorgeous song.” And Filler (7) just … sigh, ‘av it, “I prefer oral.” MrJames (6) taunts “You can hate me but I've always found this a bit of a drag.” Well I do hate you, yes. Meanwhile, ohnostalgia (7.5) is far more polite, “Vocally beautiful without a doubt, but I don't have a strong connection with “Caught in a Moment”. There's something that doesn't quite click for me.”
Many of you took to comparisons with other Sugaballads. Solenciennes revels in Three, “beautiful song, it’s unusual for any act to release more than one ballad in an album campaign but with “Too Lost In You” and “Caught In A Moment” in the fold, it’s no wonder Three spawned two of them. All three girls shine, though Mutya probably steals the show with her husky voice being perfectly suited to the dewy eyed romance of it all. This is not about fucking I_CANNOT_LISTEN_TO_SONGS_PROPERLY so just stop it, @Island.” Yas let it know.mrdonut (10) is knocked out, “Good old Karen Poole, not to mention the welcome arrival of Marius’s classic strings. “Stronger”, “Too Lost” and “Run for Cover” may be the go-to Sugababes ballads for many listeners but I’ll always treasure this one too. The verses and bridges in particular hold such power. Fucking hell Three is an impressive album isn’t it?”
P'NutButter (8) is always thirsty for more strings, “Classy ballad, more violin and it would be a 10.” acl (8) is not a shower, “This is a grower for me as I found it boring as hell as a single but like it much more now.” Remorque (8) doesn’t let a bit of old sequencing pressedness get in the way of enjoying it now, “My 18 year old self used to find this a clunker, because it kinda ruins the flow the album has going with its first uptempo’s… But then after a while it totally opened itself up to me. Mutya’s verses are fucking brilliant, with her and Heid sounding lovely during the chorus, Heidi sounding lush during the chorus and Keisha giving it her all during the middle 8. And after all that if you’re not totally sold on it with Mutya’s outro? molly_you_in_danger_girl.gif.”
The Aunt Margaret Fan Club is out in full force. Secretary uno (10) gets smug and indignant, “Heidi is only good for middle-8s, you say? HAH. This song also marks the moment Keisha started killing us all with her amazing final chorus ad-libs.” Treasurer tylerc904 (10) calls it “My favorite Sugaballad. Heidi owns it and rightfully gets the chance to truly shine.” Youth representative Constantino (9) exclaims “WAIT at Heidi stealing the show completely here!!! Oh y’all wanted a TWIST??? This took a few listens to really click but FUCK does it creep up on you after a while…” Finally, President Chanex (10) has a screeching fit of Rock In Rio proportions, “Heidi on the chorus! HEIDI ON THE CHORUS! Has she ever sounded better outside of a middle 8? Snatch that moment Heidi. Snatch it while you can. "Involved in a feeling" is such an elegant turn of phrase and all of the lyrics are just beautiful. (OK I gave this a 9 but fell back in love with it during the rate...it's such a 10. I'm not scared no more, it feel divine. Apologies for ever thinking otherwise!”
DJHazey (10) brings his own shovel for his funeral, “Low-key considered it for my 11. Mutya reads your obituary during the verses, because there's no way you're surviving this. One of my favorite Heidi moments occurs in that chorus with those little affected breaks in her voice. Probably a bit 'droopy' for most fans to call it a favorite (where's da bawps doe? right) but I'll be damned to see this go before the Top 20.” Lost In Japan. (10) is utterly dissolving into it, “Lush, melancholic, one of the best girl group ballads of all time. I could listen to it on repeat for hours and just get lost in it. Heidi leading the chorus as opposed to just a middle 8 is a nice change and she is great, but it is Mutya’s vocals that are the real standout - the perfect match for this backdrop. The MKS version of it was also incredible.” londonrain (10) also namechecks MKS and further triggers me, “surprised that this did as badly in the UK as it did, but I suspect the issue was that it was a bit too similar to “Too Lost In You”, and at the time I didn't think it was as good as “Too Lost In You”. It's still a great song, and has grown on me over time, especially now that MKS has started to sing it again.” Blayke (10) is on the same retro buzz but gets unnecessarily shady, “What a beautiful song. I would never have chosen it for a single but it probably got those contemporary mums on board back in 2003. Let’s face it, Mutya’s verses are the pure foundation of the song’s greatness. Queen of adlibs shining her crown! I must admit, the girls (with Siobhán) perform it much better now than then.”
ssa (10) has a haiku for us, “Heidi’s voice. Terrible single. Massive melody.” Sprockrooster (10) is not bitter “Definitely a true underrated single that has very strongly stood the test of time. In fact, it got even better.” PCDPG (9.5) throws some love for the video as well, “One of their best ballads along with a gorgeous music video.” As does berserkerboi (10), “A beautiful song and a gorgeous video clip. Thinking back it is probably not their best ballad but one of the simplest and most affecting.”
Runawaywithme (10) turns the knife in, with both moving personal anectode and tying the song to the band, “God, I love this song. Mutya sounds so golden with her smooth tone, she sounds so emotive and genuine and she really truly shines here, her lower harmonies in the background just melt me and her verse’s give me chills, I really love the lyrics too and they show a really mature and unique outlook on that moment in a relationship and something about the way they are sing hits me really hard as it reminds me of my grandad who I sadly lost just as I got to know him. And Hedi also really works in the chorus and the harmonies that swirl in the background sweep me away as does the bridge. The songs atmosphere of being dark and a little dangerous yet hopeful at the same time really works. The “oohs” at the end with the guitar are the cherry on top of a perfect song cake. Side note the MKS acoustic performance of this on YouTube is one of my favourite ever videos, it still gets ME teary eyed to this day seeing Siobhán shine on one of my all-time fave suga songs that I thought she would never get a chance to sing.” Now I’m welling up.
Let’s end with our 11, which comes from a member who I remember from my earliest days here; whose 11 I was pretty certain of even before this; and whose presence and participation in this rate has been so personally gratifying for me. Take it away my dear kal! “I remember how devastated I was when this was chosen as a fourth single instead of “Million Different Ways”.Oh how wrong I was! has grown to be my favourite Sugababes ballad ever. It’s effortlessly beautiful and a quintessential part of their discography. Kudos to Jony Rockstar for the atmospheric instrumental.”
I haven’t made it a point to pull up performances of the songs by lineups other than the original performers, but this is just too stunning not to. Mutya and Keisha’s vocals ten years on betray increased sentiment and strength, and Siobhán steps in with a crystal clarity. And little flutters of inflections, adlibs and harmonies throughout which pull the song heavenward gently. Try to remain motionless during the middle eight.
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To this elimination, I say:
She has returned to this thread and is looking upon us in favor!
Also:
Best presentation of commentary of the rate so far.
She has returned to this thread and is looking upon us in favor!
Also:
Best presentation of commentary of the rate so far.
he/him
FUCK OFF
Categorically their second best song, perfect vocal performances from all three of them.
Categorically their second best song, perfect vocal performances from all three of them.
Island
Staff member
Wow. I wasn't expecting this.
If 'Round Round' didn't get my 11, 'Caught in a Moment' probably would have been the next one. It's the song by them I most frequently go back to and it especially helps me when I'm in a mood. Their vocals are so beautiful and the harmonies at the end are absolutely divine. All three of them give amazing performances and yeah the lyrics might be a bit clunky but I think it makes it way more endearing. This song always manages to lift me up from solitude and kind of put me back in my place when I'm out of it. Honestly, it's such a special song for me and I'm so grateful for the girls and for this song.
Let's blame Karen Poole for the lyrics if anyone has a problem with them.
Sorry for traumatizing anyone about it being an anal anthem.
If 'Round Round' didn't get my 11, 'Caught in a Moment' probably would have been the next one. It's the song by them I most frequently go back to and it especially helps me when I'm in a mood. Their vocals are so beautiful and the harmonies at the end are absolutely divine. All three of them give amazing performances and yeah the lyrics might be a bit clunky but I think it makes it way more endearing. This song always manages to lift me up from solitude and kind of put me back in my place when I'm out of it. Honestly, it's such a special song for me and I'm so grateful for the girls and for this song.
Let's blame Karen Poole for the lyrics if anyone has a problem with them.
Sorry for traumatizing anyone about it being an anal anthem.