Thank you darling! Apart from the singles, I designed all of them (which was something like 75+ of them) which wasn't the easiest task since they had different typefaces, art direction etc. for each era.
Aw no I like Little Miss Perfect, maybe cos I'm a fan of Amelle and it's nice to hear a more vulnerable side of her vocally. Not surprised it's out though but hoping for Crash & Burn to leave and then let Sweet 7 rest for a bit. Some of the b-sides deserve to go.
Our first B-Side to leave is “Shake It”, which was released as the B-Side to “Easy”, the promotional single for the Sugababes’ greatest hits collection Overloaded: The Singles Collection. I find it a cute bop, but it isn’t particularly well thought out. If it was, it would’ve been a bit shorter and gone for the minimal spark approach, being aware of its one note chorus. As it is, it sounds quite a bit different to most of their catalogue. The retro-stylings are a surer step to Catfights, but I think something like this would’ve broken up the monotony of Change quite well, too.
There’s a chorus of voters calling it too long. kal (5) finds it a “A decent bop, but too long and too repetitive.” tylerc904 (5) thinks “it’s about a minute too long.” For P'NutButter it “goes on a bit, but it's alright”
“Just awful,” says PCDPG (1). londonrain (2) is agitated by the song, “What is this rubbish? This is actually stressful to listen to.” Solenciennes (2) picks up on the Catfights lead-in but is not very generous: “Amelle’s vocals veer into annoying here, it feels very uninspired and it doesn’t nothing for me. In some ways this feels like a precursor to Catfights in that it feels like a throwback to the likes of the B-52s and they ended up going retro with the Catfights album, though obviously to a very different sound. The backwards facing ideas are part of the identity crisis they were having, of course, but it’s a no from me.”
VivaForever (4) tries to shade “Easy”: It's really remarkable that a song this pathetic could be better than its A-side. Sprockrooster (8) has a similar opinion, but with double the points: “The moment the B-side is better than its A-side.”
Chanex’s (5) stream of consciousness, like the song itself, goes on for a bitsy too long “I desperately want to love it as the B side to Easy but...it's a stilted amalgamation of Push the Button and Block Party by Left Eye and maybe a little Hey Ya! Anyway is it over yet? No...a clap breakdown...ok...a minute later...I will turn it off if it doesn't end in the next 30 seconds...wow it's still going...ok it's over and I never want to listen to that again.” Constantino (6) was also wanting to shake it like a Polaroid picture “Oh what an adorable tribute to Outkast’s Hey Ya. Bless.”
“This is fun. Like Good to be gone it doesn’t really go anywhere though so gets kinda repetitive,” says acl (7). DJHazey (7) was more willing to bop, “The main “baby" hook is not working for me, but otherwise it's a bop.” Runawaywithme (6) likes “how this sounds like 3 totally different songs shoved together, it’s a fun experiment but I can see why it never made it onto an album as it’s a bit of a racquet (there’s probably a bad joke in there about Sweet 7 just being a racquet but I won’t go there).” It’s quite adorable how they spell “raquet” teebs.
Ironheade (4) was not feeling it “Unpromising straight from the intro - repetitious, full of annoying blooping on the synths, and appearing to be slightly off-key to boot. The song does remain quite seriously repetitive (and thus damaged) throughout, but the music does have a little more that could be of interest. The echoey delay-guitar chords and organ fills are quite nice, but then the world's most grating tambourine appears and NRGH. The vocals are better than they have any right to be, but the Babes can't quite manage to infuse the weak melody with enough of a punch to improve it. Ehhh. Leave it on the B-side where it belongs.”
mrdonut (4) thinks it’s “Like a terrible Estelle B-Side.” CasuallyCrazed (1.5) brings up Amelle’s first musical venture, “This sounds more like a Boo2 cast-off than an actual Sugababes track.” Filler (3) brings up a slightly more talented band, a T-Pop sensation no less, to shade the Sugababes: “They're no Girly Berry” Who is, to be quite honest?
Blayke doles out another 10 and takes us to a dark time when everyone had a Myspace “I don’t know who was managing the confidentiality of Sugababes’ music at this time but I remember this song and ‘In Recline’ were both leaked on a producers MySpace Music page. I LOVE this song. Amelle completely steals the show on this one. I like that at the beginning of the song, Amelle’s harmonies have been produced to L-R so when you have earphones you can separate the harmony by pulling either the L or R earphone out. I also think she sounds kind of demo-ish but I love it.” Unfortunately, most voters preferred to pull both earphones out, and so here we are.