She’s shown as a bridalwear shop window mannequin – surely a knowing nod to her frequently-commented-upon angular facial features – who comes to life and struts through a neon-infused retail district. And the album was already on a downward trajectory despite having risen to a new peak of #3 in response to Murder On The Dancefloor.Ĭoming as a mid-campaign relaunch for Read My Lips, the music video for Get Over You is brilliantly realised in continuing to cement Sophie Ellis-Bextor’s identity while creating a visual impact. Sustaining that position would be incredibly difficult with Read My Lips as it was given there were no other obvious singles to pick from. Whether she planned on being positioned as such a commercial act, on the other hand, isn’t quite so clear, even though that’s where she ended up. And with a co-writing credit on every song, there’s no reason to think this isn’t the style Sophie Ellis-Bextor intended. Take Me Home and Murder On The Dancefloor painted an image of radio-friendly disco-pop thus, it was rather a surprise to instead find an album largely preoccupied with synth-laden ’80s electronica. However, in Sophie Ellis-Bextor’s case, the issue was not so much with the quality of Read My Lips but with what people expected from it. In most circumstances, it wouldn’t reflect particularly well on an album when two of the four singles released from it were added halfway through the campaign via a re-issue.
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