Sugababes

[Heartbreak Anthem]

19 hours ago, Leaving said:

Xenomania   Dev Paul Oakenfold

Could have been an amazing trio!!

[Poison ivy]

On 9/24/2022 at 11:10 AM, sunshineslave said:

We need more of Xenomania and Dev for the actual album. The former is unlikely because I believe working with him was complicated. 

In days gone by, I would have said the same about Xenomania and they would have been at the top of my list.

However on the basis of the three Cutebad singles (the latest Xenomania produced Girl Group aiming for mainstream success), it does appear that Xenomania have gone off the boil somewhat, with none of those singles commercially performing to the expectations of anyone connected to to that team.

it’s been rumoured Mutya never showed up to the MKS Xenomania session because (at that time) she did not want to work with them but got outvoted on that so instead resorted to asserting her will by electing to simply not show up for the session secure in the knowledge nothing from it could ultimately be used without her vocals.

It has long been speculated this is why Carla Marie Williams sings on lead vocals with Siobhan and Keisha (on the track “Waiting for You”) that was born from that session.

However, the track remains an interesting curio as it was/ is the only song in Sugababes/ MKS existence to offer an insight into how Siobhan’s vocals sound over an Xenomania production and somewhat interestingly she shines on it.

It never crossed my mind that list of who produced what, is not well known as I felt there was a real possibility @metalsnake25 (at least) may have been able to flesh it out and fill in the blanks. 

Edited January 2, 2023 by Dax Diameter
Syntax

[Main Pop Girl]

26 minutes ago, Dax Diameter said:

In days gone by, I would have said the same about Xenomania and they would have been at the top of my list.

However on the basis of the three Cutebad singles (the latest Xenomania produced Girl Group aiming for mainstream success), it does appear that Xenomania have gone off the boil somewhat, with none of those singles commercially performing to the expectations of anyone connected to to that team.

it’s been rumoured Mutya never showed up to the MKS Xenomania session because (at that time) she did not want to work with them but got outvoted on that so instead resorted to asserting her will by electing to simply not show up for the session secure in the knowledge nothing from it could ultimately be used without her vocals.

It has long been speculated this is why Miranda Cooper sings on lead vocals with Siobhan and Keisha (on the track “Waiting for You”) that was born from that session.

However, the track remains an interesting curio as it was/ is the only song in Sugababes/ MKS existence to offer an insight into how Siobhan’s vocals sound over an Xenomania production and somewhat interestingly she shines on it.

It never crossed my mind that list of who produced what, is not well known as I felt there was a real possibility @metalsnake25 (at least) may have been able to flesh it out and fill in the blanks. 

You're right, Xenomania has definitely been on a downward spiral since the Girls Aloud split up  I feel they just have no new young blood in there bringing them new sounds so they're trying to chase some generic 2012 sound with every new production. Still, maybe if they'd worked on a whole album with the girls they could have come up with a cool sound together?

4 hours ago, sunshineslave said:

We need more of Xenomania and Dev for the actual album. The former is unlikely because I believe working with him was complicated. 

So what is the tea on why they seem to not like Xenomania? 👀 I remember Keisha not being too fond of their Xenomania produced songs and now @Dax Diameter says Mutya doesn't want to work with them? Some bad blood over Never Gonna Dance Again or Red Dress maybe?  

[Poison ivy]

3 hours ago, Leaving said:

So what is the tea on why they seem to not like Xenomania? 👀 I remember Keisha not being too fond of their Xenomania produced songs and now @Dax Diameter says Mutya doesn't want to work with them? Some bad blood over Never Gonna Dance Again or Red Dress maybe?  

The only way to explain is to go back to the core rudiments that underpin the group and then go forward.  In their own minds, the girls original and primary ambitions revolved around being part of the U.K R&B/ Garage scene that was fertile and riding a wave of success and developing its own flavour in response to the dominant success of U.S R&B music which was a continuing trend throughout the 1990’s.

They were in awe to be working with the same team that had launched All Saints (the success of which was happening all around them during that 98-00 period in which they were holed up whilst in pre-launch development in a recording studio) and that was their yardstick as to how ‘Pop’ they were prepared to be, to have chart success.

If they purely had it their way, they would have kept within the confines of a Mary J. Blige, En Vogue, Brandy type U.S centric musical flavour - and if it weren’t for All Saints reflecting (in REAL time) the success a U.K based R&B/ Pop hybrid girl band could have (if they only utilized and melded the mainstream tastes of a homegrown U.K domestic audience with their own), then they would NOT have even opened their perceptions of musical genre that much (particularly with the likes of Steps acting as an extreme warning in the background of how abjectly embarrassed and mortifyingly ashamed they would have been to face their school friends if they lost the ability to steer the ship - in context of what a group (that at that time were called ‘Sugababies’) would be expected to sound like musically. Particularly as they simultaneously had a producer insistent they record this, which although a long way from cheese, was still a step too far in terms of their own united perception of what a wrong direction sounded like.

Being dropped by London and picked up by Universal Island (aside) - the introduction of Xenomania with 2.0, was a very Mark Hargreaves/ Crown Media & Talent led decision. An individual and organization (all media training aside) Mutya (and particularly Keisha) grew to positively despise for various reasons that Keisha may one day elect to reveal to a greater (or lesser) degree in her autobiography (only SHE truly knows the finer details of what that was specifically about, over how long a period and how it all went down).

Xenomania felt like a sausage factory for the girls. (Although Siobhan is irrelevant to this period) - it is true first impressions last and each of 1.0 had been conditioned and shaped by their initial introduction to the music industry and the creative freedom/ atmosphere/ musical expression the girls had been afforded under the watchful presence of Ron Tom/ Cameron McVey (Mabel’s father), whilst in development at their first label (London).

Contrast this to a production collective, with little to no R&B influence who sends the girls into separate rooms to write a ‘verse’ over a very Pop based melody, with zero perception of how the overall  production will sound, or even where (within the construct of a song), their verse will appear.

Add to that, being told your writing has been nixed from the song you thought you were writing for, yet added to a completely separate one you had no idea was being constructed under your name and oh by the way, the tempo is not going to be what you thought it was either and a couple of your lines have been lifted from the verse and moved directly into the chorus and then being told by your manager that this OTHER song (that you did not know anything about prior to that same meeting) has shaped up well, is going to be a single and you have not yet heard the final mix yet though the new title is up for debate but you can help with that (out of several key options) in an effort to convince you - you have been in creative control all along.

Imagine dealing effectively with the mind that co-ordinates that entire process (for almost every individual song) and expecting a satisfactory response whilst you feel the creative freedom (you once had), slip further and further from your grasp as you hear your double tracked vocals on a song you don’t actually recognize by way of a writing credit that ensures your cut.

Would you feel happy simply to know you’ve got your percentage or would you prefer the more hands on creative experience of working with other writers?

.. As a fan, of course I would like them to work with (circa 2003) Xenomania, but from the perspective of an artist I can also see why they may not.  It’s an ironic historic truth of the wider music industry (as a whole), that very often the best pop music is generated by the creative friction between two opposing forces, which together, generates goosebump inducing results but ultimately never leaves either party remembering the actual symbiotic creative process as a positive experience.

I feel it’s only fitting to cite the track “Ace Reject” as a key example of an Xenomania production that to the fans is a hidden gem that stood out as something special from the first listen - but to the group was a track they initially never even liked or appreciated (and if it were not for those around them would not have even made the cut for the fourth album).

Edited September 24, 2022 by Dax Diameter

[metalsnake25]

I always imagined how the 2nd album would've been like had Siobhan stayed in the group. I know it's been rumored Groove Is Goin' On (Round Round B-Side) was originally recorded for One Touch and I did notice Siobhan being credited on APRA AMCOS but it was probably an error of some sort.

[metalsnake25]

6 hours ago, Dax Diameter said:

In days gone by, I would have said the same about Xenomania and they would have been at the top of my list.

However on the basis of the three Cutebad singles (the latest Xenomania produced Girl Group aiming for mainstream success), it does appear that Xenomania have gone off the boil somewhat, with none of those singles commercially performing to the expectations of anyone connected to to that team.

it’s been rumoured Mutya never showed up to the MKS Xenomania session because (at that time) she did not want to work with them but got outvoted on that so instead resorted to asserting her will by electing to simply not show up for the session secure in the knowledge nothing from it could ultimately be used without her vocals.

It has long been speculated this is why Miranda Cooper sings on lead vocals with Siobhan and Keisha (on the track “Waiting for You”) that was born from that session.

However, the track remains an interesting curio as it was/ is the only song in Sugababes/ MKS existence to offer an insight into how Siobhan’s vocals sound over an Xenomania production and somewhat interestingly she shines on it.

It never crossed my mind that list of who produced what, is not well known as I felt there was a real possibility @metalsnake25 (at least) may have been able to flesh it out and fill in the blanks. 

I've been trying to figure out some of the credits of the MKS demos and it's been somewhat challenging. Some of them are registered on different publishing databases and I also found out who produced what on a few forums discussing the material back then

Here are the tracks that I could find that were registered

• Drum 
• Light Up
• Enough
• Beat Has Gone
• Diamonds
• Flatline
• Only You
• Boys
• Love In Stereo
• In It Together
• King of London

 

[metalsnake25]

These Three B-Sides are my favorite!!

 

[sunshineslave]

20 hours ago, Dax Diameter said:

In days gone by, I would have said the same about Xenomania and they would have been at the top of my list.

However on the basis of the three Cutebad singles (the latest Xenomania produced Girl Group aiming for mainstream success), it does appear that Xenomania have gone off the boil somewhat, with none of those singles commercially performing to the expectations of anyone connected to to that team.

it’s been rumoured Mutya never showed up to the MKS Xenomania session because (at that time) she did not want to work with them but got outvoted on that so instead resorted to asserting her will by electing to simply not show up for the session secure in the knowledge nothing from it could ultimately be used without her vocals.

It has long been speculated this is why Miranda Cooper sings on lead vocals with Siobhan and Keisha (on the track “Waiting for You”) that was born from that session.

However, the track remains an interesting curio as it was/ is the only song in Sugababes/ MKS existence to offer an insight into how Siobhan’s vocals sound over an Xenomania production and somewhat interestingly she shines on it.

It never crossed my mind that list of who produced what, is not well known as I felt there was a real possibility @metalsnake25 (at least) may have been able to flesh it out and fill in the blanks. 

I don't know about their other recent work but I think "Waiting for you" is nowhere near as good as previous Xeno/Suga collaboration nor is it as most of the other MKS material. Still I'm also happy to hear Siobhan shine on it like you said.

I do understand that with Xeno's methods, the Mutya and Keisha wouldn't want to work with him again. Especially since they hate some of the songs they made together. It's kind of bittersweet because these are some of the most favored by the fans, the press, and the general public. 

I hope MKS will get the chance to lead the narrative, use all their talent to create a masterpiece that is totally theirs and that get the recornition they deserved. I think the Dev Hynes collaboration worked really well, as well as the one with NMEK. Since they asked both to remix them for One Touch 2.0, I believe they would want to keep the collaboration going. Those two understand the girls and their sound and they seem to know how to spark their magic. 

16 hours ago, Dax Diameter said:

The only way to explain is to go back to the core rudiments that underpin the group and then go forward.  In their own minds, the girls original and primary ambitions revolved around being part of the U.K R&B/ Garage scene that was fertile and riding a wave of success and developing its own flavour in response to the dominant success of U.S R&B music which was a continuing trend throughout the 1990’s.

They were in awe to be working with the same team that had launched All Saints (the success of which was happening all around them during that 98-00 period in which they were holed up whilst in pre-launch development in a recording studio) and that was their yardstick as to how ‘Pop’ they were prepared to be, to have chart success.

If they purely had it their way, they would have kept within the confines of a Mary J. Blige, En Vogue, Brandy type U.S centric musical flavour - and if it weren’t for All Saints reflecting (in REAL time) the success a U.K based R&B/ Pop hybrid girl band could have (if they only utilized and melded the mainstream tastes of a homegrown U.K domestic audience with their own), then they would NOT have even opened their perceptions of musical genre that much (particularly with the likes of Steps acting as an extreme warning in the background of how abjectly embarrassed and mortifyingly ashamed they would have been to face their school friends if they lost the ability to steer the ship - in context of what a group (that at that time were called ‘Sugababies’) would be expected to sound like musically. Particularly as they simultaneously had a producer insistent they record this, which although a long way from cheese, was still a step too far in terms of their own united perception of what a wrong direction sounded like.

Being dropped by London and picked up by Universal Island (aside) - the introduction of Xenomania with 2.0, was a very Mark Hargreaves/ Crown Media & Talent led decision. An individual and organization (all media training aside) Mutya (and particularly Keisha) grew to positively despise for various reasons that Keisha may one day elect to reveal to a greater (or lesser) degree in her autobiography (only SHE truly knows the finer details of what that was specifically about, over how long a period and how it all went down).

Xenomania felt like a sausage factory for the girls. (Although Siobhan is irrelevant to this period) - it is true first impressions last and each of 1.0 had been conditioned and shaped by their initial introduction to the music industry and the creative freedom/ atmosphere/ musical expression the girls had been afforded under the watchful presence of Ron Tom/ Cameron McVey (Mabel’s father), whilst in development at their first label (London).

Contrast this to a production collective, with little to no R&B influence who sends the girls into separate rooms to write a ‘verse’ over a very Pop based melody, with zero perception of how the overall  production will sound, or even where (within the construct of a song), their verse will appear.

Add to that, being told your writing has been nixed from the song you thought you were writing for, yet added to a completely separate one you had no idea was being constructed under your name and oh by the way, the tempo is not going to be what you thought it was either and a couple of your lines have been lifted from the verse and moved directly into the chorus and then being told by your manager that this OTHER song (that you did not know anything about prior to that same meeting) has shaped up well, is going to be a single and you have not yet heard the final mix yet though the new title is up for debate but you can help with that (out of several key options) in an effort to convince you - you have been in creative control all along.

Imagine dealing effectively with the mind that co-ordinates that entire process (for almost every individual song) and expecting a satisfactory response whilst you feel the creative freedom (you once had), slip further and further from your grasp as you hear your double tracked vocals on a song you don’t actually recognize by way of a writing credit that ensures your cut.

Would you feel happy simply to know you’ve got your percentage or would you prefer the more hands on creative experience of working with other writers?

.. As a fan, of course I would like them to work with (circa 2003) Xenomania, but from the perspective of an artist I can also see why they may not.  It’s an ironic historic truth of the wider music industry (as a whole), that very often the best pop music is generated by the creative friction between two opposing forces, which together, generates goosebump inducing results but ultimately never leaves either party remembering the actual symbiotic creative process as a positive experience.

I feel it’s only fitting to cite the track “Ace Reject” as a key example of an Xenomania production that to the fans is a hidden gem that stood out as something special from the first listen - but to the group was a track they initially never even liked or appreciated (and if it were not for those around them would not have even made the cut for the fourth album).

Thank you for this very insightful post as always. I don't think the girls would have had the success they ended up having if they had it their way at the time (or maybe I'lm wrong) but I'm pretty sure they could today as they have matured a lot and opened up their perspectives. 

Xenomania's methods seem to be horrible for the artists involved and I definitely understand that they would hate working with him or even have a complicated relationship with the songs. How not to hate a song that was created from bits and pieces of your work but that sounds nothing like what you would go for. That's kind of crazy. 

I really hope the nightmare is behind them because let's be honest, being in the band has been far from easy for all 6 girls involved. They need to channel all the frustration and trauma into their new music. Their revenge album incomming.

13 hours ago, metalsnake25 said:

I always imagined how the 2nd album would've been like had Siobhan stayed in the group. I know it's been rumored Groove Is Goin' On (Round Round B-Side) was originally recorded for One Touch and I did notice Siobhan being credited on APRA AMCOS but it was probably an error of some sort.

It definitely sounds more like One Touch than anything else they released but it's just not as good. Would not be surprised if it's confirmed it's a leftover. They probably removed Siobhan's credit like they did removed Mutya's from some songs Amelle recorded. They probably messed up the credit between the first time it got published and later times. The fact that there's no Heidi credit in replacement seem to confirm it.

 

13 hours ago, metalsnake25 said:

I've been trying to figure out some of the credits of the MKS demos and it's been somewhat challenging. Some of them are registered on different publishing databases and I also found out who produced what on a few forums discussing the material back then

Here are the tracks that I could find that were registered

• Drum 
• Light Up
• Enough
• Beat Has Gone
• Diamonds
• Flatline
• Only You
• Boys
• Love In Stereo
• In It Together
• King of London

 

So are those the ones on genius ? 

 

Another question for you guys. Do you know why Mutya is missing from the writting credit from multiple songs ? Did she have less time to contribute ?

Edited September 25, 2022 by sunshineslave

[Joyride]

On 9/16/2022 at 8:35 PM, Dax Diameter said:

If anyone has additional updated (missing) information pertaining to the writers/ producers of these MKS tracks, can they please update the below rough list & re-post:

Also, did the “Too in Love” instrumental ever leak ?

Arrow (shaznay)
Ate me up 
Back in the day (mojam)
Back to life (ed drewett)
Be kind (emeli sande)
Beat is gone (biffco, wayne hector,)
Boys (biffco, MNEK)
Break my heart (oscar scheller)
Breathe me (dan carey (?))
Burnt out (tom aspaul)
Bye bye (katy b)
Calling out to you 
Champagne & roses (mr hudson)
Crazy things (demo for MKS)
Diamonds (biffco, emma rohan)
Drum (biffco, mnek)
Enough (biffco, shaznay)
Entertainment
Fall from grace (katy b)
Flashing lights (karen poole)
Flatline (dev hynes)
Fly on the wall 
Forever ready (sia)
Garage flowers (oh wonder)
Great escape (oakenfold, diane warren)
I lay down (cameron mcvey)
I'm alright (biffco)
Kiss me tonight (diane warren)
Lay down in swimming pools 
Light up (james new, josef page)
Love in stereo (richard x, hannah robinson)
Love me hard (biffco)
Metal heart (cameron mcvey)
No regrets ( naughty boy)
Only you (biffco, shaznay)
Open book (dallas austin)
Paradise (oh wonder)
Pillow talk (katy b)
Recover 1
Recover 2 (jim elliot)
Romantic call (MNEK)
Say goodbye (tom aspaul)
Summer of 99 (james elliot)
Take the wheel and drive (dev hynes)
Today (mnek)
Too in love (mojam)
TSOB 1 woz (katy b)
Two can play that game 
Up in flames (karen poole)
Victory (jason evigan, mitchell scherr, sia)
Waiting for you (xenomania)
Why did the lights come on 
Why oh why (cameron mcvey, oscar scheller)
Your love (naughty boy)

Why Did the Lights Come On is Eg White

TSOB 1 Woz is a producer called Woz, from late 2012

Be Kind is a Naughty Boy prod

will make a whole list at some stage like the Bonnie McKee thread has

[Main Pop Girl]

22 hours ago, Dax Diameter said:

The only way to explain is to go back to the core rudiments that underpin the group and then go forward.  In their own minds, the girls original and primary ambitions revolved around being part of the U.K R&B/ Garage scene that was fertile and riding a wave of success and developing its own flavour in response to the dominant success of U.S R&B music which was a continuing trend throughout the 1990’s.

They were in awe to be working with the same team that had launched All Saints (the success of which was happening all around them during that 98-00 period in which they were holed up whilst in pre-launch development in a recording studio) and that was their yardstick as to how ‘Pop’ they were prepared to be, to have chart success.

If they purely had it their way, they would have kept within the confines of a Mary J. Blige, En Vogue, Brandy type U.S centric musical flavour - and if it weren’t for All Saints reflecting (in REAL time) the success a U.K based R&B/ Pop hybrid girl band could have (if they only utilized and melded the mainstream tastes of a homegrown U.K domestic audience with their own), then they would NOT have even opened their perceptions of musical genre that much (particularly with the likes of Steps acting as an extreme warning in the background of how abjectly embarrassed and mortifyingly ashamed they would have been to face their school friends if they lost the ability to steer the ship - in context of what a group (that at that time were called ‘Sugababies’) would be expected to sound like musically. Particularly as they simultaneously had a producer insistent they record this, which although a long way from cheese, was still a step too far in terms of their own united perception of what a wrong direction sounded like.

Being dropped by London and picked up by Universal Island (aside) - the introduction of Xenomania with 2.0, was a very Mark Hargreaves/ Crown Media & Talent led decision. An individual and organization (all media training aside) Mutya (and particularly Keisha) grew to positively despise for various reasons that Keisha may one day elect to reveal to a greater (or lesser) degree in her autobiography (only SHE truly knows the finer details of what that was specifically about, over how long a period and how it all went down).

Xenomania felt like a sausage factory for the girls. (Although Siobhan is irrelevant to this period) - it is true first impressions last and each of 1.0 had been conditioned and shaped by their initial introduction to the music industry and the creative freedom/ atmosphere/ musical expression the girls had been afforded under the watchful presence of Ron Tom/ Cameron McVey (Mabel’s father), whilst in development at their first label (London).

Contrast this to a production collective, with little to no R&B influence who sends the girls into separate rooms to write a ‘verse’ over a very Pop based melody, with zero perception of how the overall  production will sound, or even where (within the construct of a song), their verse will appear.

Add to that, being told your writing has been nixed from the song you thought you were writing for, yet added to a completely separate one you had no idea was being constructed under your name and oh by the way, the tempo is not going to be what you thought it was either and a couple of your lines have been lifted from the verse and moved directly into the chorus and then being told by your manager that this OTHER song (that you did not know anything about prior to that same meeting) has shaped up well, is going to be a single and you have not yet heard the final mix yet though the new title is up for debate but you can help with that (out of several key options) in an effort to convince you - you have been in creative control all along.

Imagine dealing effectively with the mind that co-ordinates that entire process (for almost every individual song) and expecting a satisfactory response whilst you feel the creative freedom (you once had), slip further and further from your grasp as you hear your double tracked vocals on a song you don’t actually recognize by way of a writing credit that ensures your cut.

Would you feel happy simply to know you’ve got your percentage or would you prefer the more hands on creative experience of working with other writers?

.. As a fan, of course I would like them to work with (circa 2003) Xenomania, but from the perspective of an artist I can also see why they may not.  It’s an ironic historic truth of the wider music industry (as a whole), that very often the best pop music is generated by the creative friction between two opposing forces, which together, generates goosebump inducing results but ultimately never leaves either party remembering the actual symbiotic creative process as a positive experience.

I feel it’s only fitting to cite the track “Ace Reject” as a key example of an Xenomania production that to the fans is a hidden gem that stood out as something special from the first listen - but to the group was a track they initially never even liked or appreciated (and if it were not for those around them would not have even made the cut for the fourth album).

I mean, I sort of get it. But at the same time, they only got to write on one track out of four with Dallas Austin and Keisha's always been very positive about their collaboration. I've never heard them say a bad word about Dr Luke or Diane Warren even though they didn't get to write on those tracks at all. But for some reason it seems like Xenomania is worse than all of them...I think that something personal must have happened between them, or even just a bad personality mismatch

[Poison ivy]

3 hours ago, Leaving said:

I mean, I sort of get it. But at the same time, they only got to write on one track out of four with Dallas Austin and Keisha's always been very positive about their collaboration. I've never heard them say a bad word about Dr Luke or Diane Warren even though they didn't get to write on those tracks at all. But for some reason it seems like Xenomania is worse than all of them...I think that something personal must have happened between them, or even just a bad personality mismatch

As Dallas Austin had played a pivotal role in the development of TLC they trusted his judgement and were all for being steered down that path, however Dallas proved himself to possess a pop sensibility and perceived a European group to be the perfect outlet for that sound. I do find it ironic that they were open to go as far down the R&B route as they envisaged he would take them and HE kept them bang on track with what their international audience wanted.

Dr. Luke and Diane Warren have a history of substantial hits on the U.S Billboard Hot 100, which is never a bad thing when actively looking for opportunities to score that illusive breakthrough Hit with potential to crack the U.S market.

Like many, I love Sugababes output and I love much of Xenomania’s too, it is therefore not easy (as a music fan) to accept musical snobbery exists and on occasion can act as a barrier between two parties joining forces for the purpose of musical creativity.

It’s a sad reality that money can also play a part too and if say, you were a successful songwriter with two consistent revenue sources steadily generating an income stream and those sources (irrespective of each other) slowly became resistant to the fruits of what is primarily your musical labour - then is it ever a good idea to let your money lust tangibly show during studio time with those artists? Is it ever an attractive quality for artists to recognize megalomania in you, watching it replace creativity? And once seen, can the physical display of that desire for cold hard cash ever truly be forgotten..

Edited September 25, 2022 by Dax Diameter
Syntax

[metalsnake25]

10 hours ago, sunshineslave said:

 

It definitely sounds more like One Touch than anything else they released but it's just not as good. Would not be surprised if it's confirmed it's a leftover. They probably removed Siobhan's credit like they did removed Mutya's from some songs Amelle recorded. They probably messed up the credit between the first time it got published and later times. The fact that there's no Heidi credit in replacement seem to confirm it.

I also believe there's a Heidi mix of All Around the World in the vault as well. 

Here's a bit of info I was able find from the fansite Sugababes UK

8th October 2001: It's official the Sugababes have departed from London/Warner records. This has nothing to do with the departure of Siobhan from the band. "The contract with the record company had ended and the record company decided not to renew it" a close source told Sugababes UK. Rumour has it that the Sugababes already have a new contract and a possible album track maybe called "The Word" but this has yet been confirmed.

 

[Poison ivy]

7 hours ago, metalsnake25 said:

I also believe there's a Heidi mix of All Around the World in the vault as well. 

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.

Edited September 26, 2022 by Dax Diameter
Context

[Main Pop Girl]

7 hours ago, metalsnake25 said:

I also believe there's a Heidi mix of All Around the World in the vault as well. 

Here's a bit of info I was able find from the fansite Sugababes UK

8th October 2001: It's official the Sugababes have departed from London/Warner records. This has nothing to do with the departure of Siobhan from the band. "The contract with the record company had ended and the record company decided not to renew it" a close source told Sugababes UK. Rumour has it that the Sugababes already have a new contract and a possible album track maybe called "The Word" but this has yet been confirmed.

 

Not sure it’s the same track, but Heidi would actually probably do really well on All Around the World! She has a great voice for dance pop.

[metalsnake25]

I really want a HQ version of this