British pop music has rarely been in finer fettle. From the less obvious practitioners of the three-minute melodic rush such as Arctic Monkeys and Razorlight, through the older hands of honorary Brit Madonna, and to newbies of the calibre of Lily Allen and The Feeling, it's clear that the lesser-spotted milkman has an embarrassment of riches from which to select his early morning tootle.

 

Currently sitting right at the apex of British pop, however, are two girl bands: Sugababes and Girls Aloud.

 

Neither of which is exactly doused in cool, given that two thirds of the original Sugababes have been replaced and that Girls Aloud emerged from Popstars: The Rivals in 2002.

 

But from such unpropitious sources have come two of the albums of the year. It doesn't matter that they're essentially greatest hits packages with a couple of new tracks to tempt those who already own all the albums: if one or other, or preferably both, are not nestling among your Christmas presents come December, seek a new partner or a new family forthwith.

 

Although many see Sugababes and Girls Aloud as essentially the same band in different threads there are quite stark differences. Sugababes are more obviously aimed at the R&B market, a kind of Lidl TLC, whereas Girls Aloud are a little more cleverly marketed, their full-throttle multi-hook pop songs embellished with jagged edges and echoes of rave synths. They're aimed, simultaneously, at sophisticated teens and the adult market.

 

Girls Aloud make the marginally more interesting music and have done so right from the beginning. Their December 2002 debut single was widely expected to be the usual pap - a cover of a Westlife B-side or a gloopy ballad - but from its Dick Dale Surfari guitar intro, Sound Of The Underground's propulsive pop actually shocked many people. It was vital, exuberant and sounded fresh.

 

Lined up here on a 15-track collection, Girls Aloud's oeuvre sounds genuinely fantastic. Just take a listen at Biology, their hit from last winter. It starts off in a sleazy Goldfrapp vein, then moves into, well, Sugababes territory, before the third phase takes flight and suddenly we're soaring towards perfect chorus heaven as they turn into Bananarama with razorblades.

 

It's brilliant Frankenstein's monster pop - and you can't see any of the stitches. Even their choice of covers is inspired: their take on The Pretenders' moving I'll Stand By You is the equal of the original.

 

The Babes, however, are not to be dismissed. They - in their various lineups - have been responsible for some of the best conventional pop of the decade. Apart from the startling and unrepresentative Freak Like Me, their mash-up featuring Tubeway Army's Are Friends Electric?, Overload, Round Round and Push The Button will also stand the test of time.

 

Granted, Sugababes don't possess the X Factor that makes Girls Aloud so special but that doesn't really matter: they're still contributing mightlily to what will be known to future generations as a Golden Age of British Pop. Rejoice.

 

GIRLS ALOUD - THE SOUND OF GIRLS ALOUD: 5/5

SUGABABES - OVERLOADED: 4/5

 

Credit: London Life

 

well i thought it was good :lol:

Great article...Love that bit about being expected to do a Westlife b-side a la Shayne Ward/Westlife...

 

If they'd have released the dire Sacred Trust first I don't think they would be around now...

A very nice reading. I think it's the first time I pretty much agree with everything an article says.