Month: January 2024

Week 4: Green Day- Saviors

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My biggest fear for the record was that Billie-Joe Armstrong was going to water down the lyrics like he did recently for ‘American Idiot’ during a performance earlier this month. I wondered why he did that. Was he trying not to offend those referenced as “redneck” in the original lyrics? Or did he just want to let the Make America Great Again movement know he wasn’t a part of their agenda? I was worried Green Day would lose that punk ethos after that performance. However, I am pleased to say that is not the case, and they still have that political drive we know them for.

The opener ‘The American Dream is Killing Me’ sounds very familiar, and that is because it has an ‘American Idiot’ feel, so that’s one of the political songs. ‘Strange Days are Here to Stay’ addresses the use of heroin but also attacks racism, Über, and what the bullshit governments/politicians promise to deliver and never do. ‘Living in the 20s’ was a lot darker than any of the tracks on the album as this talks about mass shootings, which happen frequently in America. ‘Coma City’ also addresses that issue but also attacks police for their unnecessary use of force. All of the above have anthemic choruses and will send the audience wild during live shows. The punk spirit, passion, and fist-pumping will be palpable.

They also take a sarcastic swipe at their generation and nod to the 90s classic film Trainspotting. ‘1981’ reminded me of the likes of Clash and the Ramones. The lyrics reference the Cold War and East Berlin. They even reference the present, especially on ‘Fancy Sauce’, which is tongue-in-cheek.

The record spans across all decades. ‘Dilemma’ sounds like the 50s rock, and if I recall correctly, the last album I reviewed of theirs was pretty much a record packed with that particular genre, which I said, at the time, took me by complete surprise because it was more their cover band  (Coverups)than them. Don’t be fooled by this; the song swings from that to the usual Green Day sound continuously over a hard-hitting subject of addiction. There is also the gender-neutral ‘Bobby Sox’. There is even room for their love of Oasis on ‘Father to a Son’, where the acoustic is deployed over strings and brass, and Billie-Joe talks about the pros/cons of being a parent. Again, there are a few tracks like the above that you think have softer moments, where Billie-Joe adopts the acoustic, but you are wrong. At some point, they explode into action with punk, and ‘Father to a Son’ is no different. It works on the aforementioned track because it conveys both emotions of being a parent.

This album never stops. Like I said, even the gentler, more acoustic moments do not remain ballads, but full-on pop punk. This is the closest album I can think of to “American Idiot”, with its bite, sarcasm, and political and controversial views across a range of topics. Some might say it’s “safe”; I’d say it’s the band at their very best. I am still a fan of “Dookie, though. Nothing will top that.

Song recommendations: ‘The American Dream is Killing Me’, ‘1981’, ‘Father to a Son’

9/10

Week 3: D-Block Europe- Rolling Stone

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Where do I even begin with this? It was utterly unlistenable. I was expecting so much after what RAYE said, but I am not a fan of autotuned hip-hop, and every single track had autotune. That, unfortunately, leads to me pressing skip frequently. I am sure the lads from Lewisham are talented, but refrain from using autotune- it ruins the music. As for you, Jadakiss, you signed them and came from a time before autotune, so why do you not have a word? Hip-hop was brilliant back then without it. Do better.

No rating

Week 2: Shed Seven- A Matter of Time

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THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.

Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:

Let’s Go:

BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.

Kissing California:

The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.

Talk of the Town:

Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.

Let’s Go Dancing:

This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.

In Ecstasy:

You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.

Tripping with You:

Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.

Let’s Go (Again):

A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.

Real Love:

The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.

F: K: H :

The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here. 

Starlings:

As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.

Ring the Changes:

It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.

Throwaways:

The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.

Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’

9/10