Dax Diameter

Keisha and Heidi are on neutral terms. The current original lineup may never have had formal media training but at this point they have a vast level of first hand experience in dealing with them, as learned on the job. They understandably do not want drama expressed via media pertaining to negativity associated with former group members so do their due diligence in placing a positive, public spin on dynamics with former members. To be fair (in light of how later events played out as a consequence of decisions taken during that fateful trip to California), I do believe if Heidi had her time again she may have made a different choice as her decision to side with Amelle ultimately led to the end of the best days of her life. It is odd looking back at this final moment in time as they attempt to launch what they think is going to be the first single from an eighth album, literally days away from reality hitting that the bubble had finally burst and it was all over (for them).

They were always tight from day one and had both come up through the stage school system, with Heidi adopting the role of older sister offering guidance and Amelle often staying overnight at Heidi’s house in Liverpool (before she later married and relocated to London). Keisha tended not to socialise out of working hours (not for any nefarious reason, she simply liked her own space) and viewed that time as an opportunity to put work in maintaining her wider non industry friendship group. Heidi and Amelle just bonded and that only grew due to the amount of time they spent together when not working.

No, it was Amelle who wanted Keisha gone. Over time her confidence became arrogance and she became vocal about wanting the same financial terms on all business agreements as Keisha. Jade was initially supposed to replace Amelle and would have if Heidi had not sided with her and they both then proceeded to walk out together. There was only one replacement waiting in the wings, so in the end Jade replaced Keisha to keep the group a trio. Amelle had the choice to behave like a mature adult and elected not to, even when Keisha later invited her to the Cinema (along with Keisha’s boyfriend) to make amends, Amelle later told the press that she found Keisha’s attempts to make up with her “weird”. Keisha since blocked her on her socials.

Heidi’s close business ties to Mark and Elliot Hargreaves (Crown), basically. Unlike every other current (and former) member of the group, Heidi has continuously retained them as her legal representation for over 20 years, from the moment in 2001 when Sarah Stennett formally introduced her to the Hargreaves brothers (right up to the present day). It is worth being aware It was Mark Hargreaves that Mutya was attempting to make a formal business stand against during her initial, febrile attempts to claim ANY level of legally recognised entitlement (that she possibly could), over the Sugababes trademark. The un-named individual who Keisha sometimes alludes to, as attempting to “sabotage” 1.0/ MKS and tying them up, into all kinds of legal knots was (and to this day), remains Mark Hargreaves (there always was more going on legally behind the scenes than a simple battle for the name). It would reduce 1.0/ MKS’s chances in various sealed and ongoing legal disputes and challenges from Crown, if they had someone directly in their environment (Heidi), who remains a business client of their legal challenger Mark Hargreaves (it would also make any financial negotiation with Mark Hargreaves, for Heidi’s services supremely toxic). No-one knows exactly why Heidi keeps re-signing her contract with Crown (each time it comes up for renewal), but every time it does, she drags herself ever further away from being invited back into the fold as she knows (by re-signing with Crown on each occasion when she does), that she is directly pledging continued allegiance and loyalty to 1.0/ MKS’s sworn legal enemy, Mark Hargreaves. Somewhat bizarrely, it is Jade (of all people) who is privately most communicative with (and supportive of) the original lineup, despite her previous working relationship with the others.

Regarding “Lay Down in swimming Pools”, It’s important to emphasise someone directly from the group (Keisha), confirming THAT was the version connected to the album, as for many years a portion of the wider fanbase have sworn blind faith in a belief (based on an old P.R. quote about “Lay down in swimming Pools” being “Just for fun at the end of a session”) - that “I Lay Down” was being used on the album instead!

I was lazily going by memory as I was in the supermarket getting groceries (without having back referenced), I since have which is why that was never actually posted. The track “Paradise” dates from a later session with Oh Wonder in summer 2014. They were looking for an illusive ‘Magic’ song that both the girls (and A&R) could unanimously agree was a sure fire smash, one that each party involved could (this time) unanimously agree on. As “Flatline” had failed to fulfill its intended commercial purpose, no-one had a predisposition towards aligning their confidence behind the girls instincts a second time. This was (some might say) understandably perceived by them as having an echo of how they were ‘handled’ back when they first entered the industry. Certain executives have some rather questionable people handling skills at best, so for a particularly senior one to adopt an “I told you so” attitude when “Flatline” failed - proved to be a rather toxic approach that did precisely nothing to ingratiate the girls and bring everyone back into creative alignment, hence when those late efforts to find ‘Magic’ failed, the project was iced. I can’t recall or profess I ever knew the minutiae of 60+ songs, after almost 10 years, no.

Often artists inherit a ‘melting pot’ of options, when it comes time to re-enter the studio for a follow up album and will weigh their preference for ‘new’ material (from those studio sessions) against what they already have in the can and will often publicly front a coherent blend of the two. (Though this is not always the case, as sometimes a publishing ‘hold’ by an outside writer, on an unused/ withheld track will be stipulated to expire at the end of a specific, contracted cycle for a specific album if a track has gone unused within the context of that specific project). The public don’t atypically know what is technically ‘New’ within the context of a body of work (a specific studio album), as music is obviously very rarely created with the intention of it ever leaking as precisely no-one on the artist’s team benefits financially from such an occurrence. So don’t think in terms of all other tracks from the great ‘melting pot’ (tracks that you were never meant to hear when you did) being ‘cast offs’, as that is simply NOT the case as there is inevitability a percentage of music that never made the cut of that album cycle - which in the end would have shown up - weaved between other, actual ‘New’ tracks within the context of the body of the follow up studio album (that if things had gone according to plan you WOULD not only, to an extent have by now - but would also consider to be from a totally separate, ‘old’ MKS studio album, unrelated to that one by now). Very rarely is something technically ‘bad’ (and therefore truly rejected), it’s more a case of what is needed, in terms of mood and tempo in context of the underlying psychology that underpins the building blocks of a commercial song sequence. In context of the wider industry, sometimes genuinely bad mistakes do get made - whereby labels are truly and unequivocally deaf, dumb and blind to the Gold they are sitting on, only to later quietly accept as such (by those paid to know better) when finally forced to play catch up - after the market speaks back to them, the below being a case in point:

The intention was to showcase the versatility of the album by following “Flatline” with a direct uptempo ‘Pop’ track. It was perceived they had three options for that slot, “Boys”, “Summer of ‘99” and “Love in Stereo”. The plan was to make a final choice based upon whichever one of those three performed strongest metrically on streaming platforms. The third single was always going to be “Too In Love”, with a push to get it play listed by Radio 2, in the run up to the Valentines Day 2014 release cycle.

Contrary to fan logic/ wisdom, the album was titled “No Regrets!” (and not named after the 2013 tour). Standard Edition [November 2013] 01, Flatline 02, Boys 03, I’m Alright 04, No Regrets! 05, Love In Stereo 06, Too In Love 07, Today 08, Summer of ‘99 09, Drum 10, Back in the Day 11, Love Me Hard 12, Lay Down in Swimming Pools Re-Pack/ Deluxe Edition [May 2014] 13, Metal Heart 14, Only You 15, Beat has Gone It pains me a lot that “Enough” never made the cut (as it is by far my own personal favourite track out of EVERY public domain track). In fact there are several public domain tracks I personally prefer and whilst it is absolutely tempting to switch several out (with my own personal choices), in the end it would be a fools errand to mess with history by doing so. The track list was an amalgamation of not only what the girls wanted & what Polydor U.K. wanted, but also what Interscope U.S. wanted, (a later U.S. launch was pencilled in for spring/ summer of 2014) with a U.K. tour to follow that autumn. Despite what Biff Stannard has (for his own bitter reasons) led you to believe, the version of “Only You” that leaked was indeed final and would have launched the re-pack in April 2014.

I don’t think anyone in either camp ever anticipated the “One Touch” reissue would outsell “The Essential Sugababes” compilation (both were released on the same day). These unexpected reverse sales patterns will not be lost on Universal Island and they DO have the rights to use the Sugababes name for catalogue product. Usually when artists have fulfilled contract obligations and moved on goodwill discussions will still take place with management to ensure that the release of catalogue product is staggered and dates are timed apart (between different labels). I wouldn’t rule out an “Angels” re-pack with a second disc of demos from the Lucas Secon sessions, the unheard Richard X/ Whitney Mashup and some remixes (at some point). It is afterall (by far) the biggest selling album in the groups entire catalogue (regardless of lineup) and is only around 70,000 copies away from being a Million seller! A reissue has the potential to push it over that sales marker. That said, I don’t think an “Angels” reissue was part of Universal Islands original agenda when “Essential Sugababes” was released, but having since digested the shock of London/ Warner’s “One Touch” (which was never originally a big seller) - that in reissue form, outsold a cheaper compilation with every Island era Hit, that was supposed to be irresistible to casuals.. I wouldn’t rule an “Angels” re-pack out. Particularly as one of the individuals from the group’s old management (who helped co-ordinate the “Essential” release through Universal), also happens to be someone well known to the fan base who was rumoured to only have got hold of and originally leaked the MKS tracks to fans. Bizarrely attaining them from Polydor allegedly through liaisons that officially only even occurred due to a shared vested interest in Becky Hill (of all people).

I feel like someone mindful of the boring, technical detail needs to go beyond the surface and grab the opportunity in no uncertain terms to let them know that the leaks were all LQ, that some were distorted, volume levels and equalisation were all over the place and almost no-one has been able to enjoy them fully due to zero perspective, prejudicial and schizophrenic, fan logic track sequencing. For all the above reasons the tracks still do have commercial value once presented in Sequenced, HQ and fully mastered format. Though I do get that from the perspective of a stand alone album release, that the sequencing involved only goes so far and barely scratches the surface in context of all the other tracks.

I believe that at production stage, “Girl Overboard” and “Close To Love” were perceived as future single options. “Can’t Speak French” was.. unexpected and not an option most fans wanted over those other two.

Singles popularity based on U.K. sales:

Singles popularity based on U.K. sales:

There was a point in time immediately after “Get Sexy” promotion was complete, when Amelle had a nervous breakdown (down to her ego being denied as opposed to being a victim of bullying) and she checked into a health retreat/ wellness clinic in Switzerland. With her gone for treatment, Keisha and Heidi were left to give performances of then exclusive, unreleased material from the original incarnation of the “Sweet 7” album on MSN Live. Amelle’s mental health had become a source of interest for the UK press with the paparazzi attempting to attain photos of her swimming semi nude in a Swiss lake. When the trio reconvened in LA for the “About a Girl” shoot, interest from the U.K. press hit fever pitch and the UK press (including “Heart” Radio), went to Siobhan for comment). Those comments were printed (in quotations) by Cosmopolitan Magazine. Cosmopolitan is a respected publication not considered to be part of the tabloid press. https://www.cosmopolitan.com/uk/entertainment/news/a7106/keisha-bully-claims-94296/ However, it should be noted Siobhan was recounting her perspective (at that point), of then unresolved, eight year old petty teenage squabbles that had been left to percolate (and exacerbated by the fact she and Keisha had barely seen each other between 2001 - 2009). It was the very next year, 2010 (directly after Siobhan gave that media quote), that she and Keisha (along with Mutya) met and thrashed out there differences at a hotel, which later paved the way for work commencing between the original trio in 2011. I therefore do not believe Keisha was ever a “bully”, all teenagers have disagreements! Separately, the Amelle situation was something else.. ———————————————————————————— Regarding Amelle (and the events as they pertained to her in 2009), there was a behind the scenes contractual disagreement pertaining to percentages (not of royalty division, that had always been three way and none of them had any writing royalties from “Sweet 7” anyway). Owing to the duration of Keisha’s tenure since the start of the group and subsequent business knowledge she had accrued as she grew throughout different eras of the group (and subsequent lineup changes), she had naturally tied herself (percentage wise), into some pretty attractive business agreements and Amelle was envious of Keisha’s percentage and knew (with Keisha gone), her level of seniority (and therefore her percentage within the context of these business agreements would increase). Amelle was aware “About You Now” had been the biggest selling Sugababes single (more so than any from any lineup prior to her joining the group) and whilst that never translated into actual album sales, it was enough to give Amelle a rather egotistical belief that the potential remained that it could, (independently of any notion of authenticity dependent upon any original member left in the group). Amelle and Heidi knew they had lost when their new era arrived and radio refused to touch “Freedom” (but it was too late). Heidi was not a key protagonist but if she had backed Keisha then Jade would have replaced Amelle. Jade distances herself from both Heidi and Amelle (nobody specifically knows why as that lineup appeared particularly close right up to the end) and although it was glossed over at the time Jade never appreciated being accused (in some quarters of industry) as having ‘light skin privilege’ and stealing away an opportunity from a darker woman of colour (she originally thought she was replacing Amelle). The reason the original lineup matter is because they came together through a genuine passion for music and have an uncanny vocal blend. It was almost non existent (in the period of the groups inception) for a commercial UK group to find each other and form without having gone through the stage school system (this also made them the most relatable lineup because most fans went through the same, standard UK comprehensive education system also).

As a long term fan of pop girls and someone who (over the years) has had many transcendent experiences where a remix has transformed my experience of a song (to the point where the remix becomes essential & the radio mix becomes a never played alternative/ the version for everyone else) - I just want to express support and am heartened to recognize a few of my own ‘go to’/ reliable remixers from the past on your playlist, (enough to make me curious about checking out the others).

Yes, “Flowers” is definitely the track I think most would NOT have a problem being swopped out for something else (particularly as Sweet Female Attitude are trying to spark interest from industry in their reunion and it was THEIR only real hit! 😬 .. Then again the atypical 10 year license for the legal usage of any music trademark (particularly one that a now heavily embittered Mark Hargreaves would crassly pay to take back in an instant regardless of public opinion), is often dependent on having evidentially released a music product under that trademark in as recent a time period as possible - so until next year when we will likely get new music product (and associated single releases) in the form of an album - it looks like we are stuck with “Flowers” being purposely wheeled out (to keep him at bay legally) for the time being. Not from last night, but Siobhan’s Live take on “Freak Like Me” is on YouTube.

Bristol U.K. Setlist 16/10/22 [Intro Section] Push The Button Red Dress Hole In The Head Too Lost In You Flatline [Mid Section] 2 Hearts Today Ugly Love Me Hard Stronger [Interlude/ Costume Change?] Same Old Story [Closing Section] Overload Garage Medley Flowers Round Round Freak Like Me [Encore] About You Now .. Overall I’m slightly disappointed by the lack of deeper cuts (in particular ‘Ace Reject’).

We already As they have already performed “About You Now”, I’m assuming that it is the next most ‘pop’ song (after that) in their catalogue, which would be “Red Dress”. I’d also be surprised if “Ace Reject” was not part of the live set as they have learned over the years just how loved it is by fans. Also, curated song selections that other lineups wrote with anyone who the first lineup initially wrote with at the start such as Cameron McVey & Jony Rockstar. We learned from the Glastonbury set they are open minded about song selections from any era of the groups history and one can just imagine how that will be expanded over the duration of a live set they have actual control over in terms of stage time. I suspect they chose literally anything that resonated with the harmonics of their vocal blend during try outs/ rehearsals. It’s worth remembering that pre Glastonbury, a lot of people were fully convinced 3.0 material would be a line they simply would never cross, but as they have gone there, literally nothing is off limits (with the obvious exceptions of “Get Sexy”, the “Sweet 7” era and “Girls”). Given the adulation Siobhan received for her rendition of “Caught in a Moment”, with some fans going so far as to consider it the ‘definitive’ version, I would not be surprised if she pulls off the same feat with several other later era, replacement vocalist tracks (without even trying).

The 20 year anniversary celebration has already started with the single: https://store.universalmusic.com/GirlsAloud/*/*/Sound-of-the-Underground-7-Inch-Single/7L910000000 £20 for an unreleased vocal version of a previously released song (on vinyl only), geez! .. On other matters, I have no doubt we will hear new music from them within two years (outside chance 3). There is no way they are going to settle for legacy act status at their age. Also, let us not forget they are all signed up to a three album deal they have yet to fulfill.

I am sad Sarah has gone, it is shocking the devastation Cancer can cause but in terms of an end product, aside from a few lines here and there. Nothing musically would be affected. To reiterate how much I really did appreciate Sarah’s presence, I always had beef with Cheryl (who grew up surrounded by Junkies), never truly caring for Sarah enough to ever step in to use that formative experience in aiding Sarah’s rehab at any point in Sarah’s addiction or recovery (over the years) and the fact Cheryl turned the other cheek and only followed Sarah on Instagram 24 hours prior to the press release that revealed Sarah’s health status, would ordinarily me all I need to know about her.. However as a business commodity, there is market demand for GA as a group and that won’t be lost on executives. I find it surprising that (whilst not implicitly stated), some appear to now view them as a ‘legacy act’ and I don’t believe they should be marketed in that way at all. They are the only act in Xenomania’s history who have the potential to re-inspire and re-energize Xenomania in creative terms. It’s just so sad that the question has to be asked, would they want to?

Nicola was the instigator behind moving away from Xeno with “On The Metro” and “Beautiful Because You Love Me” during the “Ten” sessions. Since then she has become more connected in the industry and learned about the specifics of publishing and made herself a key part of that whole side of things, she would want at least 50% songwriting credits on at least half of any sixth studio album. They would have greater control this time around, they also signed up for a deal covering at least 3 studio albums shortly before their direction of travel changed that led to the hiatus. Though it’s inevitable, greater control for them pertaining to A&R decisions is not necessarily a good thing with regard to ‘us’ in our role as fans or what we want from them. I would advise monitoring Cutebad as a measuring stick with regards to where Xeno are (now and for however long Cutebad last), with regards to how inspired they (Xeno) are creatively. Then again, there is a counter argument that the (cough) chemistry between GA & Xeno (Brian and Miranda) is where Xeno’s inspiration primarily came from and they needed GA as muses to open their creative flow and without them it closed up. Essentially GA (as a unit) would be foolish to develop a united rebellion against Brian, as without he (and Miranda), would the sonic DNA of GA even be there? If Brian snapped out of his policy of only considering Nicola for vocal parts that require a cutesy voice (for example) she may at last start to feel listened to by him and that, in conjunction to a higher publishing cut at least for her (than what Xeno possibly feel comfortable with - but could be talked into if faced with that choice, or nothing), would change the dynamic between them to such an extent that work between them would be possible. Nicola is one of those people who can walk into a room and if she vibes, then that positivity influences others, if she doesn’t vibe then nobody benefits from the mood that ensues and in creative terms that’s not a good atmosphere for anyone. The “Deadlines & Diets” standoff (that everyone knows about) was not a one off and the group (minus Nadine) have always pushed for material such as “Beautiful”, over what Polydor/ Xeno know the public want. We all want them to come back with an Xeno (or at least an Xeno sounding) banger, the question comes down to them being open to advice and there being enough space for everyone’s ego to feel accounted for in business terms. Kimberly may be a slight issue as her daytime TV host career is slowly building momentum in the U.K (and her agent is clearly motivated to win that away from Rochelle Wiseman). The whole Cutebad/ Venus narrative is simply not working in the UK in the way the Sugababes/ GA symbiosis once did (in days gone by) which at least provides an opening for that past dynamic to return and show the new girls how it’s done.

My favourite song from the album is the first track “Closest Thing to Heaven” and whilst the verse melody of “Not my Lover” is stronger than the chorus, I think Michelle looks absolutely stunning in the video and really pulls off cavorting as a vamp. The “Hopeless Romantic” album means a lot to me and I’m not ashamed to admit I love her consistent middle of the road sound. Likewise, I know the new Weyes Blood track is not the strongest either, but it’s growing on me too. https://youtu.be/3g7BSnavHH8

https://youtu.be/cHInBqWCwS4 https://youtu.be/wQcfv9zxLXI

As Ron Tom was so closely affiliated to London Records and that generic 90’s House inflected track (which they hated) was long forgotten by the 2000’s when they signed to Universal Island, I personally find this very hard to believe. ”Snake Around My Heart” is far more indicative of the sonic path they were actively chasing via demo submissions by the “Angels” period, with its hybrid indie sound self conscious of the only real success they’d experienced in real terms by that point in the form of “Overload”. I also hear how a completed version of this could be sequenced into the completed material from the “Angels” track list.