Seems like nowadays everyone wants a slice of the â€˜Greatest Hitsâ€™ pie. Acts that been around precisely the same amount of time it takes to blink super fast releasing â€˜Best ofâ€¦â€™ compilations, whatâ€™s that all about? No longer the preserve of rock fossils who are calling it a day after like a million years together and a thousand studio albums, â€˜Greatest Hitsâ€™ efforts are being churned out an alarming rate by acts that are increasingly still wet behind the ears and have plenty of mileage left in them; masterminded, the cynics might say, by record execs increasingly hungry for cash. Kudos must surely go to those cheeky Welsh Hip-Hoppers â€˜Goldie Lookinâ€™ Chainâ€™ for having the swaggering savvy to rip it out of this trend and actually dare to name their debut album â€˜Greatest Hitsâ€™-sheer unbridled genius.
Anyway. The latest â€˜Greatest Hitsâ€™ offering comes from those perky princesses of urban pop: The Sugababes. They release â€˜Overload: The Singles Collectionâ€™ on the 13th of November, just in time for the Christmas present buying frenzy (thereâ€™s those pesky cynics again). Of course The Sugababes are practically veterans in todayâ€™s capricious and difficult to keep-up-with industry-itâ€™s easy to forget that theyâ€™ve actually been around a whole six (count â€˜em) years. Ok, so thereâ€™s only one original member remaining, but thatâ€™s beside the point. The Sugababes started out as a group way back in 1998 and released their debut single (the critically acclaimed â€˜Overloadâ€™) in 2000 and their debut album â€˜One Touchâ€™ the following year. There have been three line-up changes since then (Siobhan Donaghy quit in 2001, replaced by Heidi Range and other founding member Mutya Buena quit in late 2005, replaced by Amelle Berrabah) but fundamentally the group have changed little.
The Sugababesâ€™ brand of contemporary urban-tinged music effortlessly bridges the chasm between the bubble gum pop (or, rather: pap?) so beloved of the â€˜tweenieâ€™ market, and the more sophisticated, urbane palate of the 20-30s record buying demographic. And theyâ€™ve got the statistics to back it up: four Number One UK singles, three triple-platinum albums, single sales of two million, and album sales of five million. Theyâ€™ve collaborated with some of the biggest (and most respected) producers in the industry. â€˜Overload: The Singles Collectionâ€™ needs no introduction; all the hits are there, right from the early experimental days of â€˜Overloadâ€™ and â€˜Run for Coverâ€™ through the middle years and funky pulsing beats of â€˜Round Roundâ€™ and â€˜Freak Like Meâ€™ and the beautiful ballads â€˜Shapeâ€™ and â€˜Too Lost in Youâ€™ to the more current slinky sassiness of â€˜Push the Buttonâ€™ and â€˜Red Dressâ€™. There are a couple of brand spanking new tracks thrown in for good measure too: new single â€˜Easyâ€™ sees the girls exploring a darker sultrier sound, itâ€™s a sexy, saucy record that just begs to be danced to. Preferably round a pole.
â€˜Overload: The Singles Collectionâ€™ is pure pop perfection at its very best, itâ€™s destined to be another runaway hit for the one girl-group itâ€™s ok to like. Buy and listen with pride.
"it’s a sexy, saucy record that just begs to be danced to.."