It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.
A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.
Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.
The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.
The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.
Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.
However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.
The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.
Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’
I cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.
My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy. ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.
‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.
The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.
What I fucking loved about the record was that the songs had that live energy. They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.
This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.
Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Niall Horan’s ‘Dinner Party” was not about big pop hits, but rather the main theme of romance and home. It is calmer than “The Show”, but it shows a level of maturity and self-assurance.
The album begins strongly with ‘Tastes So Good’, which is energetic, and then the title track expresses how he met his significant other. The more laidback yet heartfelt tracks are ‘She Gets It from Her Mother’, ‘Better Man, and ‘Little More Time’, showing that Niall is now comfortable and sincere with his writing.
The only negative I could find was with ‘Monochromatic’, yes, it may match the record’s overall sound, but it lacks the emotional impact and is less catchy than the others. It simply blends into the background.
The album keeps up that warm fuzzy feeling into the second half with tracks ‘Flowers’, which is easy to enjoy, ‘Boys Are Fun’, which is playful, and ‘Pretty’, which stands out for its great guitar work. The record ends on the melancholic ‘End of an Era’, which was out of the blue.
It’s not his best work, but the writing is great and heartfelt, focusing on raw honesty rather than showboating. It may not be better than ‘The Show’, but it certainly grows on you, and the more you listen, the more beauty is revealed in the songs.
The songwriting is exceptional, and to be honest, I wasn’t expecting such a mature album.
Song recommendations: ‘Tastes So Good’, ‘Dinner Party’, ‘Pretty’
Paul McCartney isn’t aiming to change the music world at 83 on this album. “The Boys of Dungeon Lane” is purely about nostalgia, focusing on his childhood, old friends, and the places that had an impression on him. The record is melodic, warm, light, jaunty, and maintains Paul’s identity. It isn’t about trying to emulate albums such as “Band on the Run”; it’s more personal than anything he’s done in years.
As You Lie There :
The opener is a soft track inspired by a mysterious guitar chord that he discovered when working with Andrew Watt. It has a reflective yet dreamy feel that sets the mood for the album. If anything, it’s more thoughtful than a memorable opener.
Lost Horizon :
Unfortunately, it’s one of the weaker tracks. The melody is pleasant, though. It feels like this one was added in haste rather than completed.
Days We Left Behind :
An emotional ode to Liverpool. Paul visits the city, his childhood friends, and life before fame. The melody is quintessentially Paul: elegant, wistful, and instantly familiar.
Ripples in a Pond :
This feels like a lost Wings track. Subliminal arrangement, and charming, but it doesn’t make an impression on you.
Mountain Top :
An adventurous, playful, and psychedelic song that gives the album energy. A welcome surprise from Paul.
Down South :
An ode to the late George Harrison that doesn’t get too sentimental. The lyricism is about travelling down the M1, talking to George. A short one, but the lyrics tell a great story.
We Two:
This is an enigma. It could be Paul discussing friendship, love or maybe both. Simplistic songwriting, which Paul excels at.
Come Inside:
Another weak song. Lacking a strong hook.
Never Know :
An underrated song. The melody takes a few listens to get it. On that, it’ll grow on you.
Home to Us :
Paul teams up with his old pal and Beatle drummer Ringo Starr. I am convinced it is just one long chorus, but it’s warm and nostalgic nonetheless.
Life Can Be Hard:
One of the album’s more honest songs. Paul addresses life’s challenges and ageing without making it too grim.
First Star of the Night:
A wonderful ballad with the trademark McCartney melody reflecting his career in the 70s.
Salesman Saint :
A quirky, eccentric, playful, jazz-inspired track.
Momma Gets By :
Paul discusses family and resilience. It may be emotional but not too sentimental, and it doesn’t bring down your mood. Instead, you feel grateful.
Outro:
“The Boys of Dungeon Lane” is unapologetically nostalgic. Paul isn’t trying to do anything groundbreaking. He is just sharing his past with us. The songs, as I mentioned in the intro, are warm, light, and jaunty. If you want to find tracks with emotional weight, then I suggest ‘Days We Left Behind’, ‘Home to Us’, ‘Down South’, and ‘Momma Gets By’.
The theme and sound don’t matter a jot to his loyal fans, and that’s all that matters.
Song recommendations: ‘Days We Left Behind’, ‘As You Lie There’, ‘Never know’
I was delighted to see Drake knocked off after that atrocious album last week, and pleased to see Maisie Peters do it. I enjoyed her last record, and even though “Florescence” is an okay album, it feels like a step back from “The Good Witch”. The songwriting and wit are still sharp as ever and, of course, observational, which is what she is really good at considering her remote surroundings during her childhood, but this record doesn’t reach the heights of the previous effort.
Tracks like ‘Kingmaker( ft Julia Michaels)’, ‘Audrey Hepburn’, and ‘My Regards’ showcase her clever lyricism and memorable characters. Unfortunately, the majority of the record is less urgent than ‘The Good Witch’; I loved the intensity and cinematic nature of that album, whereas ‘Florescence‘ is a gentle stroll through Hampstead Heath during the day. However, some of the tracks like ‘If You Let Me’ (ft Marcus Mumford), and ‘Nothing Like Being in Love’ show maturity, but they don’t keep the listener’s attention. Like most of the album, the hooks don’t land, and the majority of the tracks all blur together, in stark contrast to her previous album. You would be hard pushed to find a fan favourite.
What I will say is that the record has strong, reflective songwriting, but it lacks the tension and ambition that made “The Good Witch” successful. It may be more mature, which isn’t a bad thing, but it lacks excitement and energy.
The songwriting is impressive, the tracks are easy to listen to, but your attention wanders too often. Unfortunately, it was a significant step back from her best work.
Song recommendations: ‘If You Let Me’, ‘Audrey Hepburn’, ‘Nothing Like Being in Love’
As usual, there were no surprises about how Drake’s new album “Iceman” was going to sound. There’s fucking too much autotune. Some of the beats are actually quite good, but most of the songs are overproduced and lifeless. As usual, Drake retreats into his comfort zone of using the oversaturated autotune. No one wants it anymore; stop using it.
It brings fuck all to the atmosphere. There are too many tracks just for the sake of it. The record is just utterly shite. My ears are bleeding after that.
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
I was quite a fan of “Stick Season”, released four years ago, so I was naturally looking to “The Great Divide”, but unfortunately, it is a laborious listen that depends on mood and consistency, which does not work in the album’s favour. The opener is ‘End of August’, followed by ‘Doors’, which sets a reflective tone for the rest of the record. ‘American Cars’ and ‘Downfall’ keep the tone, but do not deviate much from the album’s tempo. There are a few times that the sound is like The War on Drugs, but a tamer version of the psychedelic shoegaze band.
Of course, that does not mean the record lacks highlights. Indeed, there are a few, starting with the title track, which has a stronger emotional build, and ‘Dashboard’ has some much-needed energy. Noah, maybe, should have done more of those songs because they have a bigger, more dynamic sound.
The middle section is where the problems with the album are most evident. ‘23’, ‘Porch Light’ and ‘Deny Deny Deny’ all sound the same regarding emotion, instruments, and tempo. Although the lyricism is deeply personal, the album drags due to a lack of variety.
As the record closes out with ‘We Go Way Back’, ‘Spolied’, ‘All Them Horses’, and ‘Dan’, the running theme is still present, but there is not much change since the first listen. The album may be held together by emotional consistency, but it makes your attention waver because it all sounds the same.
The record is deeply personal with some strong tracks, but the steady pace and overall listening time makes it drag, and you feel fatigued as you reach the halfway point. Rather than an exciting journey, it just feels laborious. Very disappointed. One for the live audience to listen to rather than get them lively.
Song recommendations: ‘The Great Divide’, ‘Dashboard’
Yes! What a fucking victory for music. Skindred reached No.1 with “You Got This”, an album that defines them over more than 2 decades. Groove, swagger, and pure energy. It’s colourful, loud, and full of attitude. Frontman Benji Webbe displays his charisma on every track.
Anyway. Let’s begin with a brief of the band from Newport, Cymru. They’re known for combining metal, reggae, punk, and electronic influences, earning them the “ragga metal” moniker. They formed in the late 90s and have since built a reputation for high-energy music, blending heavy riffs, rhythmic groove, and socially conscious lyrics.
Their frontman, Benji Webbe, is the engine that drives them with his larger-than-life presence and versatile vocals. He shifts from singing, shouting, and dancehall-style toasting with consummate ease, which gives the band its distinctive edge.
“Babylon” was their breakthrough album, before they later gained mainstream success with “Kill the Power” and “Smile”. Outside of the studio, they’re known for their memorable live shows, where raw energy and crowd interaction collide.
That’s the introduction over; let’s return to the review.
The mood is set from the start with the opening title track, with its big, anthemic sound. The song conveys a message of resilience, driven by heavy riffs, explores real-life struggles, and offers encouragement.
The mix of toughness and positivity drives the record on, giving it a motivational vibe.
Catchy hooks and strong rhythms, ready for their live shows, featured heavily on ‘Can I Get A’ and ‘This is the Sound’. Their full mix signature sound, consisting of metal, reggae, and punk, is on full display, transitioning smoothly from heavy riff and dancehall grooves. It certainly makes you want to bounce along to the beat.
I have always loved the band’s raw attitude, and that stands out on ‘Born fe Dis’ and ‘Do It Like This’. They are cocksure and confident, reaffirming the band’s identity.
The album isn’t just frenetic; there are slow moments with the ska- and dub-inspired ‘Broke’ and ‘Glass’. The band still maintains its edge. The underlying grit is still present, so you know it’s Skindred.
Benji Webbe always bring the grit. His delivery features catchy melodies, fast toasting, and powerful shouting, keeping the listener on their toes. Benji isn’t just performing the tracks; he is taking control.
His presence alone gives the record its heartbeat. Songwriting may feel familiar, but his energy keeps everything urgent and lively.
As the album winds down, ‘Big ‘Em Up’, ‘My People’, and ‘Give Thanks’ bring unity and celebration into focus, highlighting the band’s connection and positive message. Tracks designed to be shouted out, with a crowd, and enjoyed together.
The only minor downside is the record’s repetitive nature. If you can even find fault with it.
Skindred know their sound and stick to what they do best, so some songs might feel like they’re initially blended together. However, that familiarity makes them appealing. You come for it, and they always deliver.
Ring Out:
“You Got This” displays Skindred at their best: energetic, blending genres, and raw emotion fused with passion. It doesn’t reinvent the wheel, and doesn’t need to.
Benji Webbe makes the album an enjoyable listen alongside the band’s raw, infectious attitude. One to be enjoyed whether in a mosh pit, at a festival/concert, or at home with the volume on full.
Song recommendations: ‘Born fe Dis’, ‘Do It Like This’, ‘You Got This’
Honest Opinions 