MIAOW was released in 1994, and after happily receiving money for the initial release HMV threatened to sue the band for the use of His Master's Voice, the painting of the dogs hypnotized by the gramophone.
This was the first opportunity people had to hear Jacqui Abbott sing for the band.  Paul discovered her singing at a party and the rest is history (literally - See Painting It Red).
The most successful single off this, The South's slowest selling album to date, was Everybody's Talkin' - a great, crisp solo by Ms. Abbott.
Other singles from this album were Good As Gold (Stupid As Mud) and Prettiest Eyes.

Q Review:

Scientists are asking: can The Beautiful South get any more unfashionable or out of step with the rest of rock? Their lightweight socio-politically-inclined pop has never quite fitted in-to its credit, surely-yet, as their last single Good As Gold trilled, they carry on regardless. Diminishing returns may be their undoing come Dombsday, since Miaow, their fourth LP, is nary a stylistic shuffle forward from 1992's coasting 0898. The tapalong song count is generous (Tattoo, Hooligans, Hold On To What), Paul Heaton's under-celebrated lungs are in finest fettle (the chores no longer split with Dave Hemingway), and the replacement for disenchanted Briana Corrigan, Jacqueline Abbot, seems a plus. But even with the wily addition of Fred Neil's Everybody's Talkin' (previously covered by Moose and Nilsson) and an unchecked post-PC lyric in Mini-Correct, it's just another Beautiful South record, the faintest praise of all.*** (3 STARS)
Andrew Collins