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Should probably post this here as well... Bonnie McKee & Ina Wroldsen - Heart Attack [Alex Da Kid] https://pillowcase.su/f/154cecfd69835b2df4f82adc35a93075

I think it's: Man: "What ails the king?" Woman: "You'd think it was a funeral by the look of him..." Man on horse: "My Lord, this is no time for downcast looks, the people are uneasy! Lift up your head and smile at them. A plague upon that crazy pauper woman that she laughs at you..." Boy: "That woman was my mother!" Man on horse: "Good Heavens! He's gone mad again...come on!"

True but they seem like strange songs, in theme, lyrically and melodically for an artist like him or any artist much older than 18. I could see her doing something a little bit like that for Carly where the cheese is laid on super thick but for a male artist... It's also worth mentioning that Bonnie only wrote the "I throw my hands up in the sky sometimes..." line in Dy-no-mite. So although she wrote All Yours with him later on and might've (co-)written other tracks with/for him, their connection is not as strong as it might seem based on Dynamite. They didn't write it together, Bonnie probably just kinda got lucky financially with that track. Even if her splits were minimal, it probably still made her good money for just the 1 line. Rotem has done some decent stuff IMO but they're usually the tracks that are a little different. The sounds he's best known for (the 8000 Better In Time carbon copies etc) are fucking horrible. And he always had this kinda douchy self adoring attitude, which doesn't help.

It's funny that article mentions Justin Bieber cause... The lyrics to RSVP & What's It Gonna Take are pretty damn juvenile, even by Taio Cruz standards. And kinda...wholesome. I always assumed RSVP was made along with American Girl for Bieby's 2nd album. It's very much in the same vein as the original American Girl, think she mentioned not having a lot of time with that session. Obviously RSVP is very rough and unfinished too, so that would make sense. What's It Gonna Take was probably for his first album. Didn't Bonnie do background vocals on Eenie Meenie & Love Me? I would assume she wrote something for (the later releases of) that album as well. I'm guessing Chasing Ghosts might be a demo for Jason Derulo's second album. Alex Da Kid was affiliated (or something) with JR Scrotum at the time. I don't know the specifics but Alex Da Kid worked with most of Rotem's artists back then and Rotem did a bunch of tracks on Skylar Grey's first album on Alex's label. I'm also pretty damn sure Chasing Ghosts was co-written by Livvi Franc, who was on Rotem's Beluga Heights at the time and wrote at least one other track for that Derulo album, I Think I Love Ya, which became Pick Up The Pieces. Hmm interesting, I didn't know she had a seperate session with them. It would actually have been the 2010 camp I think. Who knows, it's hard to say for sure. It could help if we knew the exact writers of WOTW (if there are any other writers from the camp on it). Thing is, Bonnie's version had "11.20" in the metadata. That doesn't HAVE to be the date...but it seems likely. If it is, that would mean it was written on the 20th of november of 2010. And it would make sense that they booked a session together after they'd all worked together a few months prior at the camp and had good chemistry.

Oh, I wasn't implying you're talking shit or anything - like I said, she may just have been generalizing. It seems like Wide Awake simply came 'from another place' than most of the tracks she did with Katy & Max Martin. I don't know where it came from, but that misinformation has been around looong before the size of Bonnie's eyes quadrupled. It may have been Max Martin or Dr Luke, or just bullshit. But it's been said that Hold It Against Me had been very briefly considered for Katy, but quickly rejected cause it really wasn't her sound, since around the time it came out. Long before she ever said anything about it being inspired by her.

I only had a quick listen, but Ready Or Not sounds nothing like a Bonnie track...? It sounds like a Rihanna session gone horribly wrong. Stranded actually sounds much more like a Bonnie track IMO, but not from that era. It sounds like a Leona Lewis track. I'm sorry, but people in this thread are way too focused on most of her leaks being either for herself or Britney. She wrote tons of tracks for tons of people that we do or don't 'officially' know about. It's safe to assume that Bonnie wrote for 'most' albums, by certain major artists (especially female ones), around 2010-2012. Regardless of if it's confirmed or if there's 'a connection'. Is there any reason to assume she wrote a track for Céline Dion or One Direction or Usher ? No. Is it extremely likely? Yes. Her constantly saying shit like 'she's super picky about her collabos but she just keeps getting offers she can't refuse' when she was working on her album only referred to that specific period, and was probably greatly exaggerated at that. Even if she had massive hits with Katy out, she still had publishing deals with both Rx and Pulse that probably gave her an obligation to write songs for others. Not to be a smartass, just to clarify: I'm making an assumption here, but I'm guessing @tropicalian mentioned 2012-2013 as an indication, probably based on the BMI work ID number or something. No shade to him, but that's kind of an 'iffy' way of going about pinpointing when tracks were written because: A) Tracks aren't always registered shortly after they're written. It varies greatly, but generally speaking, from the late 00s or so on, a lot of tracks weren't registered until they were placed with/acquired by an artist. Some writers do seem to register most of their tracks, but that seemingly became more and more rare as publishing sites got more attention from the general public (sadly I blame myself in part for that, but that's beside the point). At any rate, most writers don't go and register their tracks the day after they've written them. I assume it's usually done by management or something anyway, but even so, most people seem to register their tracks in batches. Obviously this isn't a hard rule, but it's...much more 'the norm' than writer's rushing to log onto BMI to register tracks that will probably never be released as soon as they finish recording the demo. B) Like I said, tracks get re-registered sometimes. Could be because it's recorded by another artists (perhaps in a different territory, like the Asian or Hispanic or Europena market), or because the track had incomplete info, writers or publishers that weren't (properly) credited, etc. Sometimes a writer will sign a deal with a new publishing company, and sometimes when that happens, publishing companies acquire (part of) their catalogue. Sometimes a certain writer or publisher's entire catalogue is sold to a publishing company, without them signing to that publishing company. C) Aside from that, it's still kind of hard to tell exactly what (rough) date a registerd work relates to. You have to compare work numbers of several tracks you know were released at a certain time and try to get a timeline. But it's extremely hard to really pinpoint that stuff exactly, like to the month. I've spoken a bit about this before when Bonnie's version of War Of The Worlds leaked and I 're-leaked' Makeba's version... Denise Rich is a veteran songwriter active since the mid 80s. She may not the biggest household name, but in the industry she's well-known and respected. She has a home in Aspen, where she held these annual BMI-centric writing camps from at least) the late 00s well into the 10s. Panic! At The Disco's High Hopes is a very random song that was written at one of the later camps. It seems like those camps generally weren't aimed at specific artists, but basically just to add a ton of tracks to BMI's catalogue (and have like a semi-vacation). Of course, it's not unlikely that at those camps, writers would do tracks for certain big artists or artists they were working with at the time. Most likely though, they mostly wrote tracks that could potentially be pitched to multiple artists. Like 'the uptempo urban track' or 'dance pop track' artists and 'the victorious ballad' talent show winners. Although not impossible, it is very unlikely they were ever specifically writing tracks for Bonnie there, though. Especially with Makeba, or writers from Nashville like Luke Laird & Tommy Lee James. Tracks like Dose & Leaving LA were done at the 2009 writing camp: Bonnie with Oligee, Claude, PJ Bianco etc at the 2010 camp: Bonnie with Denise & BC Jean: Makeba with Ross Golan, Denise & Luke Laird: They're towards the end here: https://deniserichsongs.com/photos

I remember that one of the Sky tracks was registered some time before the other, without Sky credited. But I'm fairly certain it was Paper Doll, not Touch & Go. That doesn't necessarily mean anything - it could just mean that she wrote that one beforehand and during the session Sky added some bits and then they also did Touch & Go. If there's a Britney track with that title confirmed, it's most like one writen by The Writing Camp (Evan Bogart, Erika Nuri, David Quiñones & Victoria Horn) and produced by Bloodshy & Avant. It was registered at that time and it was confirmed at the time (Circus, not Femme Fatale) by Evan or Victoria (I don't remember) that they worked on tracks with Bloodshy & Avant (as well as Danja) for Circus. Well I'm not sure what 'those song' are exactly, but Wide Awake is most likely an exception. Not just in that Bonnie probably reffed it, but that it was mostly Bonnie on writing the lyrics as well. (Or one of the exceptions, as Bonnie was clearly generalizing since we know Hold It Against Me was written for Katy Perry initially and we got Laws Of Love recently - although I kinda wonder if that's really 'just' a Katy Perry track, and not written as a duet between Katy & Rihanna). Anyway...the original title of that song before Bonnie jumped on it was "No Matter What". I was always under the impression that that version was written for the Backstreet Boys' DNA album, although I can't actually find any info on that anywhere. So I may have just filled in that blank. "When Max Martin sings demos, he sings nonsensical stuff, just phonetically pleasing lyrics, and originally it was "No Matter What," which is super universal and also would have probably been a hit song, but I heard it with his accent and there were a bunch of effects on his voice, so I heard it as "I'm Wide Awake," even though that didn't rhyme or anything. I came back in and I had written this whole thing that was "I'm wide awake, I'm born again," and Max was like, "No, no, it's 'No Matter What.'" But then Max was like, "This is cool," and I was like, "Alright!" Happy accident I guess." https://www.songfacts.com/blog/interviews/bonnie-mckee It doesn't outright say she recorded the demo, but it seems kinda likely. It's hard to say for sure since songs get re-registered sometimes etc, but I looked at a few sites and it seems to be from around 2016. It's pretty unlikely these were for the Epic album, pretty sure they were written at the same Denise Rich Aspen writing camp in 2011 as War Of The Worlds.

Yeah Bonnie & Kelly were both signed to Rx, Heather was Livvi's main squeeze around that time and Bonnie & Livvi also worked together before that writing camp. It seems to have been that writing camp that sort of cemented (at least for some time) those team ups though, especially Heather & Kelly's working together. And then there were the Bali writing camps after that. I'm pretty sure After Tonight was written with Livvi & Heather BTW, not just Kelly. It's likely there are Bonnie demos for any track she wrote for Britney, especially as the sole female writer. But out of all the tracks Bonnie wrote for other artists, it seems most likely that there may not be Bonnie demos to some of the Katy tracks. People pitch tracks to her sometimes but AFAIK Katy's MO at the time ws basically going in with a theme (lyrically), often with another writer, and working from there. Obviously I'm not saying there are no Bonnie demos to any of the tracks she did for/with her, there's Hold It Against Me, of course. And I'm pretty sure I've seen Katy mention that she focuses more on the lyrics than the melody when writing. But I'd keep in mind that it's possible there aren't Bonnie demos to some of them, as well as other tracks that she wrote from scratch in sessions with capable singers that also write their own material. Like some of the Katy Perry, Adam Lamert, Paloma Faith tracks, stuff like that.

Yeah for Britney at the FF writing camp. I should mention it doesn't have to be one of the Oak tracks of course...I kinda forgot just now, but I've wondered if that Bonnie/Jewel/Sophie Stern track could possibly be that "A Little Too Late" (Point Of No Return?) track by an unknown singer that leaked... Yeah here's Rubberband: https://krakenfiles.com/view/rYQFpqjUwI/file.html

Bonnie worked on Femme Fatale with Dr Luke/Rx producers for several months. Not full time of course, but still...that could potentially be a lot of songs, none of which appear to be registered. Obviously we got a good bunch on the album, and a good bunch of leaked demos. But a lot of the leaks we got were tracks that were done at the Teresa LaBarbara Whites Femme Fatale writing camp. There's at least 1 more track Bonnie wrote at that camp with Danja, and another 1 she wrote with Sophie Stern & Jewel. Since there's supposedly 1 more Bonnie/Sophie/Oak & Pop track from that camp, it could be either that or Kiss Kiss Bang Bang (Battle Royale seems kind of unlikely). That's just what's confirmed, there's probably some/more tracks Bonnie did at that camp with at least Livvi Franc/Heather Bright/Kelly Sheehan and others.

Hm are they definitely? I always figured that she signed with Pulse in 2009, does anybody know exactly? I know Oligee was already signed and he sort of got her that deal. Obviously she could've written those early tracks with him before she had her deal and they were only registered afterwards. But she's also said it was Fireflies, Mine & Teenage Heart that got her that publishing deal. And althought Teenage Heart is a bit more upbeat, those songs and all the other Post-Trouble (from ~2005-2007) are all very different from her post-Oligee solo material (~2007 or 2008-2009). Those 2005-2007 were pretty much all live instrumentation. Maybe some drum programming here and there, but still very much Pop-Rock tracks. Mostly tracks Bonnie probably wrote by herself on piano, and were re-worked/expanded upon by producers, like Trouble. She still had more acoustic sounding and ballady stuff of course, but there clearly was a turning point where she sort of 'went electro', which was oviously Oliver's influence. I always thought that point was in early 2009 or maybe late 2008. But maybe all that happened like a year earlier. Come to think of it, tracks like Romantic Rage & Rubberband seem to have been made around that turning point and those are supposedly from 2007 as well. All that said...is U Won even Oligee & Josh Abraham, though? That's what my file said, I'm guessing that's what it said on Genius at some point, but I don't see any evidence of it as far as it being registered anywhere goes. The only likely song with that title registered is one written by Jennifer Karr/Shep Solomon/Jimmy Harry. And although Jennifer Karr sings her own demos and does session work as well, it wouldn't be the first time a sessions singer did a reference track for a song she wrote.

Well I mean, she signed a deal, she obviously owed somebody an album. It's not like she had to personally conceive that album, that's what A&R is for. She just needs to let people pick decent songs that fall within her vocal range and that can be slapped together to make an album. All she had to do was show up at the studio sober enough to 'sing' the songs. No one ever expected her to do proper promo in 08, she had plenty of promo. Plenty.

Could she not have leaked any of the songs that cost more than 20 bucks? 😶 How exactly do you mean that it was never an album? I mean...obviously by the time Refill was done, it was no longer the same project as in 2008. But some older tracks may still have been contenders if an album had ever been released between. Even if much of the rumored information false, she definitely had about an album's worth of songs at the time. As far as you know, what is and isn't true about unconfirmed sessions/songs recorded during that time? And by that time I mean 2008-ish, not so much later sessions. Were the Bloodshy & Avant and Danja rumors ever confirmed or disproven?

When I first heard Last Call Lover my first thought was that it sounded like a Jennifer Lopez pitch. Pretty sure I didn't know it was Greg Kurstin yet. When I heard a clip of Go Getter, same. I only realized later that Greg did at least Sweet Design around that time as well. Obviously Sia was the connection there, but it's hardly farfetched to think he did additional tracks. I'm not sure why it matters if JLo takes demos all year long. An artist like her probably has random writers/producers submitting demos without being commissioned to pitch tracks. Chances are Bonnie worked on tracks for Love? as well, and Hasta La Vista sure sounds like it was written with her in mind. The point is that JLo potentially works with anyone, so do Greg & Bonnie. It's not like Bonnie, or any artist/writer/producer, really needs a definite connection to an artist. She's a songwriter, who has publishers and A&R management and will basically work with/write for whoever she's booked to because that's her job and she needs money. Writers generally don't go around deciding who they want to write a track for today, that's an occassional luxury. Obviously relationships between different publishers and record companies make it more and sometimes less likely for certain people to work with other people. But exclusive deals like Dr Luke had with RCA in the late 00s are very rare. Even though Luke clearly had her working with a lot of his Rx artists/writers/producers, that's not all she did by far. She was working with lots of artists/writers/producers around the turn of the decade (10s) that sometimes had no obvious link to Rx or Pulse. My point is that even if Sweet Design didn't exist or we never knew about it, I still would've assumed both tracks were JLo pitches. Sweet Design just backs the likeliness up a bit more. I'm honestly not interested in convincing others, it's just my two cents. Some people seem to always try and pinpoint which of her unreleased album projects tracks that aren't obvious Femme Fatale pitches were for. But the vast majority of her post 2007-ish work was simply written for other people. That was her main job.

U Won always sounded like a Christina Aguilera track to me. But it's pretty generic, can't say I ever listened to it much. @tropicalian Is that 100% confirmed? I wouldn't have guessed it was that old, was Bonnie with/work with Oligee as far back as 2007? I think I've said this before but I'd put money on Go Getter & Last Call Lover being Jennifer Lopez AKA pitches. They sound nothing like Bonnie's own material from that time, everything like JLo tracks vocally and Greg Kurstin did at least 1 other track for that album (Sweet Design with Sia).

Something tells me their fans still won't have any idea what an actual army is or does.

How strange that Guilty Pleasure wasn't for Britney, I'm guessing she didn't say who it WAS for. The song itself sounds much more like a Jennifer Lopez or possibly Rihanna track, but the oh oh-whoa-oh-oh's on the outro are SO ridiculously Britney-esque. Bonnie never seems to make too much of an effort to sound like Britney (like croak & shit), except maybe on more 'talky' lines. Very random. Anyway...Earthquake is most likely written by Mischke Butler & Damon Sharpe / Oligee & Josh Abraham. Yeah I've said before that it was probably for Katy Perry or Kesha, I'm actually backtracking on that, it sounds like a Shakira pitch. I'm guessing benny blanco or maybe Billboard? And that it's probably co-written by Claude Kelly.

Can anyone post 'em? I'm guessing they're probably in this thread somewhere but I mean...446 pages... 😅

Has Bonnie ever said or implied she planned on releasing Last Call Lover herself? I mean, I very much assume that track and Go Getter were written for Jennifer Lopez' AKA album? Obviously that doesn't means she couln't have considered putting it out herself. Where exactly 'is' this whiteboard? Is it on a photo or in a video?

I never got this fear of using leaked material. Sure, if an entire album leaks 2 months ahead of its release date, or the track that was set to be the first single off a Britney album 20 years ago, I understand that messes up the plans. But at some point it seemed like (and this has been confirmed by songwriters) that even the leak of a writer's demo of an album track was enough for most record companies to consider that track lost forever. If it's a good track, it's a good track. It doesn't matter. If lots of people love the leak, people that buy the album will most likely like it. It just...doesn't compute. I remember being shocked AF they put out Better Than I Know Myself as a Adam Lambert's first single for the album, cause the demo to that must've leaked like 2,5 years before that. That was pretty much unheard of. When that does happen, it's usually an artist that kept & re-worked the song for a later album, and that's pretty rare in Pop.

I checked to see what song this was about...I'm Good?!?!? That song is literally 5 years old...crazy that they released it so long after it was created.

I feel like their last 2, maybe even 3 albums were trademarked by not committing to a certain direction enough. I mean, their albums were always versatile, but on those later albums it just seemed like the label wanted to experiment a lot producer-wise, but didn't actually want to take any chances. So they tried to use a similar format to their albums, but the tracks themselves seemed to get increasingly safe and increasingly dull. I feel like going with big name US producers was a fine move in theory...I just wonder where all the good songs are. There's just 0 creativity. ...I almost wonder if WE didn't get the CDR full of rejects that Jade got 😶 REALLY makes me wonder just what was cut. There's a bunch on YouTube, just search "keisha buchanan solo" or something. Pretty sure the 2 or so I have are on there. Surely some Sugababes stan has more though... We never got much in the way of leaks from them, aside from the mass MKS leaks obviously. Luckily Hot Under The Collar leaked, but there must be tons of known (registered etc) and unknown unreleased stuff... As for her being a bitch or not...I know what you mean, but personally to me she's always come across as bitchy enough to leave that as the main impression so 🤷‍♂️ all things considered there's enough to support the theory that she's not exactly easy to deal with at the very least

Retconning this FINAL final final mastered version she'd been working on for so long to an early demo of the track from the 4th incarnation of her sophomore album. Worst part is we're not even joking around here...

Right...as you pointed out, the title IS a little different (Firefly/Fireflies). And I do believe the Sugababes track is supposed to be produced by Brian Kennedy. It's entirely possible he produced a version of Bonnie's demo of course. Like much of her older work, that song was composed solely by Bonnie, probably just on piano or guitar, and got fleshed out by a producer into a 'proper song'. Bonnie did work with Brian Kennedy in 2009 on other projects and also around that time, Brian worked with other writers also signed to Pulse (like Bonnie, such as Anne Preven & Scott Cutler) for Syco projects. Considering that this album had a bunch of StarGate tracks at least that were for Leona & Alexandra Burke and Bonnie has likely written/submitted songs for Leona's 2nd albums, it's not unlikely a Brian Kennedy version of To Find You/Fireflies was pitched to Leona (sure sounds the part) and later recorded by the Sugababes. Then again...it could just as well be a completely different track altogether 🤷‍♂️ That song Tetris I mentioned is credited to the 3 of them along with RuthAnne (Ruth-Anne Cunningham) and Paul Meehan. The other track, Never Look Back, is a song written by Jade, RuthAnne & Paul Meehan and registered at the same time. So I assume that's also a Sugababes track. Jade did have some writing credits on her solo stuff, although not much. There's a few songs with Toby Gad credited to just her and Toby, which ARE pretty mediocre. There are also some other tracks registered that have a co-writing credit for her, and she was credited as a co-writer on a bunch of Trinity Stone songs (but usually along with the rest of the group and established writers like Karen Poole). I guess the fact that they were 'going international' was the whole idea behind the song 🤷‍♂️ I'm a huge Makeba fan but mannn those lyrics...it was clearly always intended to be kind of a campy, tongue-in-cheek song (...I hope) but it probably should've been even cheesier, lyrically. Or completely re-written to be a 'serious' song (but I like that option less). To me, it just sort of sits somewhere in limbo between trying to be a hot song and trying to play on the whole 'sweet but sassy little colors of the rainbow' theme of the Sugababes of the days of yonder. It's like Britney's Radar in that sense, but that took things just a bit further and it was much more confident & coherent in its cheesy stank IMO. I was so psyched for a campy poppy interpretation of the Sugababes by big US writers/producers...but it seems they wanted to play it safe by going for a rather generic current sound...which was a little less current by the time the album actually dropped, like a year after most of the songs were done. It still leaves me Sweet & Amazed that the result of those sessions led to such a mediocre album... Side note: supposedly Better Than Love was written for Britney, but...I dunno. I'm guessing it probably was pitched to her, but I find it very hard to believe that it wasn't written specifically for the Sugababes. The demo leaked along with that Syco mass leak of Alexandra Burke's debut album (and all the Leona & some Shayne Ward stuff). Clearly she and the Sugababes were working with a lot of the same people at the time and recording some of the same songs (Thank You For The Heartbreak at least). And if it leaked along with all those Alexandra tracks, it was more than likely at least pitched to her as well. So...I'm pretty About A Girl & Better Than Love would be the 2 initially reported RedOne songs. Apparently they ended up doing 4, so those other 2 were probably tracks that he either had 'lying around', or tracks that were written last minute by some other writer (or possibly and/or the Sugababes). Yeah I do believe that's at least part of it. I'm not saying the media weren't at all to blamce, but playing the race card is also very easy. Siobhan basically did all the lead vocals on Overload, so it would make sense that their introduction greatly affected that. And while she was obviously also the most introverted and reserved of the 3, there's little doubt in my mind doubt that she's also by far the most intelligent one. Not that the other 2 are simple, but a quick listen to/glance at the lyrics of Siobhan's debut album (written/recorded when she was only 18/19), and comparing it to Mutya's album recorded years later with only co-writing (with established pop writers, and not exactly deep stuff overall) says a lot. Don't get me wrong, I'm not saying Mutya doesn't have it in her to write a good song or anything, obviously she wrote the majority if not all of at least Maya. And it's not really fair to compare them because they walk completely different paths musically. But personal taste aside (cause admittedly I worship Siobhan's debut album), comparing Siobhan & Mutya's songwriting skills & creativity does tell you a thing or two about them and the difference between them. The other 2 were a bit more superficial and inherently outspoken, and also just the fact that she was a soft-spoken 'still waters' type pale ginger girl in what was probably considered an R&B group (with poppy elements of course, but definitely much more Urban than downright Pop...lots of garage influences etc. Also, what pop girl group has 3 members? That's an R&B girl group thing). So perhaps it was the fact that she was so different from the other 2, but also your average singer, that also attracted more (probably unwanted) attention from some interviewers etc. Clearly Keisha is also a capable songwriter, and although she claims she's not a fan of the poppier Sugababes stuff, she does seem to be best at writing it. It always sort of seemed to me like she didn't really know what she wants - like she says in the interview posted in this topic, she loves the whole poppy synchronized dance move thing, dressing up in the same outfits etc but she's also the loud, outspoken & clearly most bitchy one. I think maybe she's just sort of conflicted about herself and having been famous from an early age only added to that, like maybe she doesn't quite know how to reconcile wanting to be a famous singer with being herself. She's tough & Urban but also kinda girly & Disney in a way. And I'm guessing that applies to a lot of aspects of her personality We know she wrote a lot for the Sugababes, but as far as I know we had barely a handful of solo songs by her leak, that were pretty generic and lacked any clear direction. Kind of cheap-sounding really, and she clearly wasn't only recording stuff she (co-)wrote. More Urban-sounding obviously, but mostly stuff that wouldn't even be THAT out of place on some of the later Sugababes albums. So it's hard to say exactly what a solo Keisha project would be like. I'm curious though - supposedly she recorded over 50 tracks and it was to be mostly produced by Future Cut at some point. And they would have a bunch of Rihanna & Rita Ora etc rejects sitting in the fridge at the time... To what extent Keisha was a bully we can't ever really know, but it takes little speculation to arrive at the conclusion that she's difficult and just kind of a bitch at the very least. She's probably just very self-involved and lacks a good deal of empathy, and Siobhan is (or at least was) clearly very sensitive. At any rate, it was just a match made in hell for girls their age in those circumstances, especially ones that don't exactly fit the pop star/girl group mold. Just like Nicole in PCD...it just doesn't work when you're very sensitive to be in a group like that. You might be able to pull it off, (with lots of success even), but in the long run it's just not a healthy situation. Being in a group like that probably isn't healthy for most sane people, let alone very sensitive ones. But it gave them their boosts to varying degrees of success, and isn't that what pretty much anybody joins a boy/girl group for in the end?

Oof that's a real stinker...another Bieby demo?