I’m listening to this fully for the first time since release last week and Overload and Run For Cover still sound so fresh, like they wouldn’t be out of place in the current charts.

That to me has always been one of their strongest powers. Their music, at least the earlier material, is kinda timeless. It chased no trends or crazes and was just well made music and as a result kinda has a timeless vibe.

 

Ghosts is another example of that. It faded away a bit by Taller.

 

 

One thing I’ve found interesting from the Q&As was Siobhan talking about the harmonies and vocal arrangements and that after working with Don E to establish it they and they alone sort it. They’re just made to sing together. Like the Reload sessions or whatever it was called. They barely look at each other when singing and the timing is absolutely flawless. I mean you’d expect that for No Regrets as it’s a new track, but their timing is absolutely impeccable on Royals and Caught In A Moment too.

Ghosts is another example of that. It faded away a bit by Taller.

One thing I’ve found interesting from the Q&As was Siobhan talking about the harmonies and vocal arrangements and that after working with Don E to establish it they and they alone sort it. They’re just made to sing together. Like the Reload sessions or whatever it was called. They barely look at each other when singing and the timing is absolutely flawless. I mean you’d expect that for No Regrets as it’s a new track, but their timing is absolutely impeccable on Royals and Caught In A Moment too.

 

I think that was the issue with the management increasingly just seeing them as a set formula - I mean, yes, of course Mutya sings the low harmony because that's how she sings, but Keisha and Siobhan might switch between the high and middle one, depending on if it feels right at that moment. But there's no real "this is how it should be to make a Sugababes track" when going into the studio - and that's the issue with the later line-ups. It became a part of a machinery, where the focus became on what they thought the public wanted from a Sugababes track.

This is such a lovingly put together re-release, I'm glad it's looking to get a new top 20 peak, it's criminal the album never made it that high in the first place.

 

The demos and bonus tracks are of varying quality but some are extremely good. And it all still sounds so fresh it's crazy. I guess everything comes back around and the garage/2-step sound is back in vogue at the moment so maybe it sounds fresher now than it would have done a decade ago because of that.

 

The original Little Lady Love could have easily been a single <3 And All Around The World is indeed awesome, particularly considering this was just a demo. Completely unexpected 90s dance style production and just sounds like in a parallel universe it could have been a late 2001 smash.

 

Also, the first line in the booklet made me laugh "Sugababes became the most successful British girlbands of the 21st century". I'm guessing that was meant to be 'one of the most successful' but I'm not ruling out the fact they were referring to the four different line-ups :lol:

This is such a lovingly put together re-release, I'm glad it's looking to get a new top 20 peak, it's criminal the album never made it that high in the first place.

 

The demos and bonus tracks are of varying quality but some are extremely good. And it all still sounds so fresh it's crazy. I guess everything comes back around and the garage/2-step sound is back in vogue at the moment so maybe it sounds fresher now than it would have done a decade ago because of that.

The original Little Lady Love could have easily been a single <3 And All Around The World is indeed awesome, particularly considering this was just a demo. Completely unexpected 90s dance style production and just sounds like in a parallel universe it could have been a late 2001 smash.

 

Also, the first line in the booklet made me laugh "Sugababes became the most successful British girlbands of the 21st century". I'm guessing that was meant to be 'one of the most successful' but I'm not ruling out the fact they were referring to the four different line-ups :lol:

 

You have amazing taste! :wub: And like you said, it's so odd to think that they could've went down a completely different (but still successful, I reckon) route altogether with All Around The World. It's always fascinating to me when a track is lined up as a potential lead single... and then ends up confined to the vaults, not even featuring on the album in the end!

I think that was the issue with the management increasingly just seeing them as a set formula - I mean, yes, of course Mutya sings the low harmony because that's how she sings, but Keisha and Siobhan might switch between the high and middle one, depending on if it feels right at that moment. But there's no real "this is how it should be to make a Sugababes track" when going into the studio - and that's the issue with the later line-ups. It became a part of a machinery, where the focus became on what they thought the public wanted from a Sugababes track.

Yes I looooooooved Siobhan just being like “well low is always Mutya because it’s like honey” and the instinct into well it isn’t planned it’s just whatever suits the track or their mood or the lyrics that is then how the mid and high are split. I am not so sure that it was quite as instinctive in the later line ups and I wonder if that then created some of the tension that would go on to cause Keisha-gate. Especially as management control dramatically increased after Keisha-gate.

 

 

It is so weird because you can hear something and go “that’s a Sugababes song” but there’s absolutely no formula as you say. They mix so many genres and stuff together that there really isn’t a formula at all because it’s all so different. It’s why One Touch through Three are so good as albums

Yes I looooooooved Siobhan just being like “well low is always Mutya because it’s like honey” and the instinct into well it isn’t planned it’s just whatever suits the track or their mood or the lyrics that is then how the mid and high are split. I am not so sure that it was quite as instinctive in the later line ups and I wonder if that then created some of the tension that would go on to cause Keisha-gate. Especially as management control dramatically increased after Keisha-gate.

It is so weird because you can hear something and go “that’s a Sugababes song” but there’s absolutely no formula as you say. They mix so many genres and stuff together that there really isn’t a formula at all because it’s all so different. It’s why One Touch through Three are so good as albums

 

I think it's fairly obvious that Amelle's natural tone really isn't in that lower register that Mutya's in because she always tended to sound out of breath (she'd often "end" the sentences before she was supposed to). Heidi was the most well-integrated replacement, but she was also often pushed to the background (or rather the middle-8). Jade of course was Jade, lol. I think it's hard to hit a decent balance when you're completely over-thinking it in terms of parts and who should sing what and how.

You have amazing taste! :wub: And like you said, it's so odd to think that they could've went down a completely different (but still successful, I reckon) route altogether with All Around The World. It's always fascinating to me when a track is lined up as a potential lead single... and then ends up confined to the vaults, not even featuring on the album in the end!

 

It is strange but often an interesting indicator of a scrapped new direction that never happened. When these tracks do eventually surface you can sort of hear why they were completely left out, as they never fit in that well with the eventual sound of the album. Quite often they're incredibly strong songs though, particularly if they'd been earmarked at one point to lead an album.

It is strange but often an interesting indicator of a scrapped new direction that never happened. When these tracks do eventually surface you can sort of hear why they were completely left out, as they never fit in that well with the eventual sound of the album. Quite often they're incredibly strong songs though, particularly if they'd been earmarked at one point to lead an album.

 

It reminds me of Dannii's Someone New which was at one point marked as the lead for Girl, but hard to even place on the finished product. Or Shiv's Don't Take Me Back which was supposed to lead what was to become Ghosts when it had the preliminary title The Agony and the Ecstacy.

I will say that I always forget how sweet Forever is as a song. It's a bit cheese, but it's so low-key and their voices sound lovely.

It is strange but often an interesting indicator of a scrapped new direction that never happened. When these tracks do eventually surface you can sort of hear why they were completely left out, as they never fit in that well with the eventual sound of the album. Quite often they're incredibly strong songs though, particularly if they'd been earmarked at one point to lead an album.

Particularly as it was ear marked as the lead for Angels rather than One Touch, so to be considered and discarded from two albums is particularly interesting I think. It also wouldn’t have fitted in on Angels I don’t think but that is a little more scattergun in it’s genres they might have gotten away with it. Tho ultimately Freak did what this would have done in a way that’s perhaps stood the test of time a little better than this might of. It’s very turn of the millennium in its current form :lol:

I will say that I always forget how sweet Forever is as a song. It's a bit cheese, but it's so low-key and their voices sound lovely.

It’s such a perfect B-Side I always thought

Particularly as it was ear marked as the lead for Angels rather than One Touch, so to be considered and discarded from two albums is particularly interesting I think. It also wouldn’t have fitted in on Angels I don’t think but that is a little more scattergun in it’s genres they might have gotten away with it. Tho ultimately Freak did what this would have done in a way that’s perhaps stood the test of time a little better than this might of. It’s very turn of the millennium in its current form :lol:

 

Ironically it sounds fresher now than it probably would have done in 2002, with the recent 90s house revival :lol: I agree, Freak was a real statement of intent single that completely shook the foundations of British pop in a way that All Around The World wouldn't have done. I could have seen it being a safe top five hit if it had lead the era but they definitely made the right choice.

 

It's funny when you look back at what a transformative year 2002 was - Freak, Sound Of The Underground and then from the US the albums from P!nk, Christina and Justin really shook the pop genre up. When you listen to those songs and albums and then compare them to some of the other beige sounding pop around at the time from Blue, Liberty X (except Just A Little and Being Nobody - which obviously woud have never happened without Freak), Atomic Kitten etc (even though I loved some of those songs!), it shows you how pioneering and risk taking it was.

Edited October 7, 20213 yr by gooddelta

it shows you how pioneering and risk taking it was.

 

I love that, they don't get enough credit for this.

My Mug and black cassette (which appears to be numbered) have arrived along with the first of my Overload signed CDs!

Amazing! Better late than never.

The main event still in the hands of DHL somewhere

My Mug and black cassette (which appears to be numbered) have arrived along with the first of my Overload signed CDs!

 

Yay! :cheer:

 

It was such a special moment to be able to hold the signed CD at last. I still can't quite believe we have a new Sugababes release in 2021.

 

My friend just received his Overload single and it's only signed by two of the girls :lol:

My friend just received his Overload single and it's only signed by two of the girls :lol:

 

No way! I think someone on PJ said the same. I guess that makes those copies extra rare. :lol: