Author: honestopinions19

Week Twenty-Five: Liam Gallagher- MTV Unplugged

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I remember back in 1994, Oasis did a handful of intimate acoustic gigs to help promote their debut album “Definitely Maybe” at various commercial record stores like His Master’s Voice and Virgin Megastore. I also remember Liam saying he loathed doing acoustic songs, let alone gigs, back then. Let’s consider the infamous 1996 MTV Unplugged at the Festival Hall, where Noel had to take over vocal duties after Liam bullshitted about having a sore throat. Why do I say bullshitted? Because he was up on the balcony drinking and heckling his middle brother at every opportunity. He should have just said he didn’t feel like doing it and let Noel and the others do it without him, which they had to do, anyway. It showed great disrespect to the unplugged series by MTV who have had the likes of George Michael, Nirvana and Alice in Chains to name a few. It’s also more surprising that Liam didn’t do it after doing “120 Minutes” two years before for MTV.

Anyway, the venue chosen for his undeserved second chance with Unplugged came after his middle brother branded Hull “A fucking shithole.” in all fairness, I have heard other musicians call it and one who is even from there. He vowed to play in Hull and even thought the people and city were great.

Many have called this a “Great performance”, but as I have stated many times, Liam might be a nice person in the main (Unless you happen to be Noel, Paul and Johnny.), but his voice has been found wanting since 2004. When I hear the ultra parka monkeys who won’t hear anything wrong said about Liam, I simply cannot believe what the fucking idiots are saying. They sent me links to this gig at the time to songs such as “Sad Song” and suggested I pass comments on his vocals, and, unfortunately for them, I did, and they were not what they wanted to hear. It sounded like a fucking cat walking over a vinyl playing on the turntable. It makes me cringe having to listen to him these days. I feel embarrassed and saddened by what his voice once was.

I am not a fan of his solo material written by several songwriters, and I have to laugh at most of his songs being acoustic after what he said in the past. Again, we have a setlist top-heavy with Oasis songs. I wish he would let it go and enjoy his success. Oasis is the past and should stay there. Many would say, “You wouldn’t go and see Liam or Noel Gallagher’s High Flying Birds if they didn’t play Oasis songs”. 

That’s a load of fucking bollocks. I will quite happily go to their gigs to hear their material. They both have enough to consign Oasis to television and YouTube archived footage. Liam can’t seem to let go and keeps pushing for a reformation only the ultra parka monkeys or the Supersonic 2016 generation want to see. It’s not the fault of Oasis that you missed the window. I wanted to see the Jimi Hendrix Experience, but you know? It’s just unlucky, and you must learn to accept that.

5/10

Week Twenty-Three: Lady Gaga- Chromatica

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Lady_Gaga_-_Chromatica_(Official_Album_Cover)

Now, I haven’t been that keen on Lady Gaga ever since “Poker Face”, “Bad Romance”, “Born This Way”, and “Alejandro”, which are considered the best of her songs. Oh, and that one featured in that “A Star is Born” film. I changed my mind about the 21st-century Madonna after hearing her duet with the great Tony Bennett. After hearing that, it showed me that she was more than just a generic yet eccentric pop star. She did shine for me on those recordings and gained some of my respect. 

Indeed, she is versatile in her fashion and music and has probably outperformed her predecessor, Madonna, in the art of shock. Remember that Gaga has been inside an egg down the red carpet and worn a dress made entirely of beef. She has done jazz, as I mentioned, with the great Tony Bennett, which, for me, was the turning point in bringing her music to those who can’t stand generic pop and appealing to a much more mature audience. She made a country-themed album which is entirely about her auntie, who died before she was born, and then she branched out into film, where she did the soundtrack and was the lead role in 2018’s “A Star is Born”. Some may compare her to being similar to the late David Bowie, but although I agree, I still stand by my stance of her being a Madonna for the new millennium.

Some critics have said that “Chromatica” is her return to form and is more in line with her pop music, but I will have to disagree with them as I found the record was laced with 1990s house. While making notes for her sixth album, this is what I discovered:

Three short songs make up “Chromatica”, just stringed instrumentals resembling something you hear at the Albert Hall in London during the Proms, so basically classical, but certainly ideal for the big screen and the big classical music halls. Some have described ” Alice ” as disco, but I wholly disagree. This ode to Alice in Wonderland is very much house from the 1990s. One critic described it as her take on garage, which left me entirely surprised.

“Stupid Love” is your typical Lady Gaga song and sounds like “Born This Way.” “Rain on Me”, which features former teenage actress Ariana Grande, sounds like the sort of track that Mylo or Diplo would produce. “Free Woman” sent me right back to those 1990 raves (Although for me, it was more raving at School discos, parties and youth clubs.) with its substantial house bound production. “Plastic Doll” seems to be a warning to any male who wants to mess her about and treat her like shit, “Sour Candy” features Blackpink, which is aptly named and yet another track inspired by house.

“Enigma” is house with its classic piano riff and very soulful vocals and is perfect for when the clubs eventually open their doors again, “Replay” uses a sample from a Calvin Harris hit of which I can’t remember the name (It goes, “ooh, ooh ooh, ooh ooh, ooh, ooh” if that helps?) “1000 Doves” is yet another track that takes inspiration from the 1990s club scene with a piano wrapped around dance beats and electronic drums. You may wonder why I haven’t included the song with Elton John. The reason for that is that, disappointingly, Elton opts for autotune rather than using his natural vocal ability. The final song I will touch on, which closes the album, is the Madonna-esque “Babylon”, which, to me, is the 21st-century version of “Vogue”, with Lady Gaga even using spoken word like Madonna did on her 1990s hit. It even has that classic piano riff from “Vogue.” the only thing that doesn’t feature is the strings, but unlike Madonna’s song, Gaga’s has a beautiful saxophone solo.

Recommendations: “Alice”, “Free Woman”, “Sour Candy”, “Enigma”, “1000 Doves”, “Babylon”.

9/10

Week Twenty-Two: the 1975- Notes on a Conditional Form

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The 1975 sleeve

I remember hearing about this band in 2013 and giving them a chance, but I didn’t think they lived up to the hyperbole they were getting. I couldn’t stand their song on FIFA 14 either and removed it from my playlist. And would they have got on if it wasn’t for their leader Matt Healy being born with the mother-of-pearl spoon in his mouth? It certainly helps when your parents are well-known British actors. It also helps they came along when the rock side of music was not really doing a lot.

The opening track, named after the band, features a piano with a speech given by Greta Thunberg at one of her many climate change rallies. I might not believe in everything she says, but I admire her passion. Climate change is just a case of nature taking its course, but it certainly doesn’t help when you’ve got fucking idiots drilling huge holes in the ice for research. If I were the scientists, I’d suggest they leave the drilling well alone. Of course, that will agitate the ice and cause it to break up.

The next track I will mention is “People” It has shite elementary lyrics, but the drum beat reminded me very much of Blur’s “Song 2” and a very unusual assault for the band into the punk genre. I never had them down as a punk band or even attempting to do punk. “the End” is just one of those fucking pointless throwaways that are known as interludes. This one is just a short-stringed instrumental. That then leads us into “Frail State of Mind”, which, in my opinion, is a failed attempt to appeal to the fans of the garage genre. It didn’t work, lads. It’s not your forte.

“Streaming” is just another stringed instrumental interlude. “Yeah I Know” is yet another failed attempt at appealing to the club scene with its garage element. Seriously, lads, leave well alone.

“Then Because She Goes” is trying to emulate the indie scene of the 1990s, with this track sounding like the Wannadies smash hit “You and Me Song”. “Shiny Collarbone” is trying once again to break into the club scene with this house instrumental with a ragga sample chucked in. “If You’re too Shy (Let Me Know)” is very 1980s.

The final two tracks I am going to mention are “Playing on My Mind”, which sees the band take time out to reflect and bring the tone down of the music by going acoustic and “Having No Head”, which is dance music that is ideal for a child’s disco.

I was thoroughly bored listening to this double-disc record; most of the time, the album didn’t hold my attention, and I wondered what my review would look like and if it would be even long enough. I cannot stand the band; I don’t understand the hyperbole surrounding them, and this album hasn’t changed my view.

Many of the fucking idiots who follow them will be like, “You’re just trying to be ‘edgy’ and ‘cool’ by saying you don’t like them”, but it IS actually true. I cannot stand them. My dislike of their music is genuine. Others might be like little sheep and follow, but I have my own mind, which tells me I do not like their music.

4/10

Week Nineteen: Drake- Dark Lane Demo Tapes

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Well, where to start? Like Justin Bieber’s review, I will not say much about this piss-poor effort by the world’s most overrated rapper. The only thing I like about Drake is he is an avid follower of the Toronto Raptors. (I’m surprised they won the NBA playoffs when he showed up because he seems to jinx teams and players across all sports when he is in the vicinity.) and Toronto Blue Jays. He has the potential to be a good rapper if he would just fucking stop pissing about with that shit autotune that fucking ruins every tune made (I am starting to get turned off of Reggae, Ragga and Bashment because the majority of artists think it is “great” to use. It fucking sounds awful. I’m glad I grew up in eras where this useless piece of software did not ruin the songs. Well, plug-in, to be exact.) I do not care less what the sales of his records say; he is vastly overrated and can’t even touch the rappers I listen to. I prefer real rap like N.W.A, Public Enemy, Ruff Ryderz, Tha Dogg Pound, Thug Life, Outlawz Immortalz, Ice Cube, Professor Griff, DMX, Kurupt, Big Syke, 2Pac, Nas, Eminem and Black Thought to name some outstanding rappers. What they speak/spoke about was the real shit they saw out on the streets and experienced. Not materialistic things (To an extent, they did, but not too much.) like most of these fake rappers do now.

Everyone was taken aback by this release of demos and other odds and sods when Drake said he planned to release an album later in the year rather than this compilation. I had hoped after the first track that he wouldn’t use that god-awful fucking autotune, but alas, he did, and I ended up skipping track after track because I would rather swim in mud than listen to an album packed with autotune songs. I’m pleased he focused more on what he is good at than singing. The collaborators are a better choice, too.

Although it is fucking an awful compilation, I did like “Chicago Freestyle” for its hook sung by Giveon, who is a new and up-and-coming vocalist (Shame, he used autotune, though.), which shows once again that Drake can still spot talent. The biggest surprise, and the one that’ll leave his fans open-mouthed and disappointed, is the collaboration on “Not You Too” with Chris Brown, who went from a rising RnB star to a villain in an instant when the news broke that he beat Rihanna up when they were dating. There are several blurred lines to the story, but most believe that Chris did it and has no case for innocence. It shows complete disrespect by Drake to the lady he has collaborated with and had a relationship with, and the subject matter of the song doesn’t help as it’s about him being betrayed in a relationship by a woman, which not only shows his ego, but the fact he has Chris Brown on it seems like, this song was really made for Chris to get across his side of the story via a song. 

It could also be that Drake is pissed off with her that it didn’t work out, but either way, it is very coarse and in poor taste. Pretty much like the mixtape, which is musically uninspired, poor guest selection and just shit. I will give “Dark Lane Demo Tapes” a rating of two, but even that’s being generous.

2/10

Week Seventeen: Gerry Cinnamon- the Bonny

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Here is a track-by-track review of Gerry’s second album:

Canter:

I found out via an interview by Gerry that Canter actually is Glaswegian slang for easy. Now, being a Celtic supporter, I was amazed I didn’t know that, but somehow, I still understand what Gerry is talking about in his songs. I can watch shows like Still Game and understand most of the Glaswegian slang used. Anyway, the song is basically about how not to take things too personally and to trust your instincts; as the track points out, “Things will only get better, if only you could stop being wee less of a wanker”, or lyrics to that effect. The fans who saw him at festivals and concerts last year already knew the words before it was recorded.

War Song Soldier:

A very touchy subject is discussed in the song, but even though Gerry finds it challenging to talk about the issue, he feels the only way to express himself is to write and record it through the medium of song. That’s probably how 90% of musicians express themselves, as they find talking about darker periods in their lives too much.

Where We’re Going:

When I heard this, I felt it was a cross between the Cure, the Smiths, Johnny Marr and Morrissey with its musical style. Again, Gerry is digging deep within his soul as he talks about hitting rock bottom and trying to get through the other side, no matter how tough. He believes that if you can see a future, you can escape. I like it. It’s based on reality.

Head in the Clouds:

This song wasn’t written by the time Gerry returned to record this record but was written in just three days. The song matter is about his struggles with insomnia and how after being deprived of sleep for three days, he finds it hard to function and concentrate and therefore, the things he wanted to do all turn to shit. However, as the song progresses, you get confused and start hearing a love story emerging, and you’re thinking, “What the fuck? I thought this was about an insomniac?”. By the song’s end, you realise it is about someone in love but can’t handle the prospect of getting hurt, so they want to run rather than give the love a chance to unfold.

Dark Days:

The title is misleading but, at the same time, very apt. It talks about being able to smile and enjoy life even through the dark times that either surround our environment or our own personal circumstances. Quite apt, we are surrounded by wars, corrupt politicians, and a global pandemic.

the Bonny:

The title track is actually about chasing your dreams (No matter how crazy.) and not giving a fuck about people putting them down and building on them to see the dreams come to fruition. The song is also part of a trilogy that began on his debut 2017 album “Erratic Cinematic”. It begins with “What Have You Done” and then starts on this record with “Canter” and ends with this song unless Gerry is going to surprise us with part four on his third album.

Sun Queen:

The verses are about wasting your time and caring about things that mean fuck all, and the chorus is about focusing on the things that really are worth your time and energy.

Outsiders:

I have interpreted this song because you have your mind and do your own thing, no matter what anyone tries to tell you what to do and how to think. It’s like not following what everyone else does and becoming brainwashed by what they are being fed in the mainstream. There are even lyrics within the track where Gerry mentions that even though there are times when he can’t be fucked with making music when he hears his fans repeat back his lyrics to him, he believes in himself and music once again because the fans make it all worthwhile. Gerry said that he was given “Outsider” as a nickname, but instead of taking offence to the term, he has embraced it and sees it as a compliment. The song has a combination of Green Day and Oasis. The melody reminds me of Green Day’s “Know Your Enemy” and the riff like the bridge on the acoustic version of Oasis’ “Supersonic”, which Noel Gallagher performs these days with just Chris Sharrock striking a tambourine and Mike Rowe supplying the solo on the keyboards for Noel Gallagher’s High Flying Birds.

Roll the Credits:

This plays out like a typical early 1900s film about a couple splitting up and saying goodbye on a train platform with tears in their eyes.

Mayhem:

Although Gerry carries on playing the acoustic guitar, rather than switching up to electric (Maybe the third album?), this song has a club feel to it with its pulsating kick drum (Well, the second part of it, anyway.). The beginning, though, suggests the track takes on a Latin vibe.

Six String Gun:

The title is likely a nod to Gerry’s favourite weapon (The guitar, obviously. Henceforth, “Six String Gun”.). However, the premise is very different and discusses how to be a better person even in situations where that is extremely difficult and by showing yourself as a good individual, you will get taken advantage of. Especially in the industry that Gerry is in.

Every Man’s Truth:

This is a great way to end the album, as it discusses ideologies that we all share and whether the truth that we think we know is indeed genuine or if those who open their eyes to the world around them and don’t fall for all the bullshit that’s fed in the main are the individuals who are actually seeing what’s really hidden? The song, bizarrely, doesn’t appear to have a chorus until the end. Gerry has gone on record by explaining that “Every Man’s Truth” is about addressing the truth that we really don’t know and how everything we hear, read and see isn’t always accurate (Corrupt politics for a start.). He says that our opinions are only borrowed or forced onto us through the mainstream media and that what we believe is sold to us through our own biases and follows us from the cradle to the grave. This appears to be a dig at the secret council known as the Illuminati (You know? The all-seeing eye, pyramid folk?). Whether he does believe in that or not, I do not know, but he leaves it open to the listener to do some research or ignore him as a nutter. It’s worth looking into; from there, you can make up your own mind. Gerry says that the acoustic guitar is more honest when you’re writing and revealing the song, but I would like him to bring some electric guitar to his next album, but that’s entirely up to him.

Song recommendations: “Where We’re Going”, “Outsiders” and “Every Man’s Truth”.

8/10

Week Fifteen: Dua Lipa- Future Nostalgia

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Dua Lipa

Here is a track-by-track review of Dua Lipa’s second album:

Future Nostalgia:

This is the title track that blends rap with pop. This track was only thought of after the record was already named.

Don’t Start Now:

This track has been dubbed the best of her works since “Be the One” off her self-titled debut album in 2017. This disco-pop song shows she will not rest on her laurels and is looking to aim higher. It also just keeps getting better after every listen.

Cool:

Dua is trying her hand at the 80s, and this track is aptly named. It reminded me of what the Weeknd has done with his latest album. The 80s disco is well in at the moment.

Physical:

I should probably look at the singles released off this record, but I have heard that this track is a massive hit among her fans, and they find that this pop song stands out on “Future Nostalgia”. It has got plenty of attitude, suggestive lyrics and synths with a drum beat that will send shock waves through your body.

Levitating:

It’s another disco track that feels like it belongs on the album. It’s much slower than “Physical” and much more laid back. The song is surrounded by synths, a typical dance beat and some very teasing vocals. There’s even some swearing in this track um hahahahaha. Snowflakes will recoil in horror. Awww.

Pretty Please:

From going full throttle with her vocals on most of the record, Dua eases off on this track, but that doesn’t take away from the fact it is a great song.

Hallucinate:

Some may disagree, but this track fits the house genre. When the drop happens, you have the typical house pulse and the iconic bassline. And why wouldn’t it be? It is produced by SG Lewis, who is known for his work, not only as a singer but for his productions in house, deep house, drum n bass and techno and being a DJ within those genres. It’s certainly a surprise at this point because there has yet to be a song so far that fits into club-based. I see this being a potential single and being played out in the clubs (when they finally reopen.). It would fit in very nicely into a Carl Cox, Mad Fingers, Anne Savage, Lottie or Fatboy Slim set. The lyrics even talk about meeting someone on the dance floor. You can’t get more apt for the club environment than that.

Love Again:

We now come to the longest song on the album, and there’s a very recognisable sample. It was also No.1 in November 1996 and was played to death. Wiley has also sampled it. It is White Town’s “Your Woman”. Although the sample is the strings of the chorus, it cuts into a dance track. It works, though and deems this song a success.

Break My Heart:

Her latest single, which again follows the disco path, includes an Australian band INXS sample. It is quintessentially pop, rising and falling, complete with a bridge and chorus. There’s a very poignant lyric in there regarding the current situation the world is in. Now, it’s without question she wrote the lyrics ages before the lockdown, but the verse is “I should have stayed at home”.

 

Good in Bed:

Haha, what a name for a song and if you can’t work out the suggestive lyrics, then there really is no hope for you. It is as clear as day. This is an early Kate Nash song with Dua’s own style added. It is also the only track with a comedic element on the record.

Boys will be Boys:

It’s pretty odd that as we approach the album’s end, the tracks have changed direction and become more risqué. While surrounded by strings, Dua talks about the opposite sex but still manages to keep it in line with the record’s narrative. It’s more of a dig about the inequality that still exists. It’s typical for Dua if I am honest with you, she is never too shy to give her opinions on anything, especially this subject.

Overall review:

I may be wired differently from everybody who listens to her songs, but although the album is very good, my standouts are not among the favourites with her fans. I preferred “Hallucinate” because it is house music and very suitable to include in a set at a club, and “Love Again” for its White Town sample, but then kicks into a dance track. What I like about the album is that this is a very different pop angle and gives a nod to the 80s. Not to mention, you have a house track, so Dua is bringing the dance scene back into the mainstream because, let’s face it, it has been gone for a very long time; it’s mainly sing-a-long, happy clappy shite. With this and the Weeknd’s latest record, we now see the pop charts changing yet again, bringing back the dance and club element. Will this album stand the test of time? Well, that all depends on her fans. I will not get all nostalgic and listen to this record in twenty years. I was really shocked when she wasn’t No.1 in the first week because this, by far, a much better

album than “C A L M”. 7/10

Week Fourteen: 5 Seconds of Summer- C A L M aka Calum Ashton Luke Michael

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5_Seconds_of_Summer_-_Calm

I looked forward to reviewing this as they did a few festivals last year, and the lads from Perth, Australia, were on point. However, they should have stayed as pop punk like they were with their self-titled debut album. Unfortunately, going into the pop arena hasn’t worked with them on this record, and it just sounds poorly produced. It’s pretty much like their previous album, “Youngblood”. This reminds me of that record, as there is little change in direction.

For me, 5 Seconds of Summer is falling into the same trap Maroon 5 did. Maroon 5, when they first got started, were releasing good songs like “This Love”, “She Will be Loved”, and “Sunday Morning”. Unfortunately, then they started making shite like “Moves Like Jagger” and “Phone Booth”. I don’t mind listening to early Maroon 5 material but since 2011? Forget it. I am saying that any song with the potential for 5 Seconds of Summer is being massacred and turned into dogshit. The band have said leading on from their previous record that their inspiration is drawn from the 80s, but I don’t know what section of that era because the songs are incredibly flat and underwhelming. It’s a shame when you consider the producers behind this project, Louis Bell and Andrew Watt, who have worked with Ozzy Osbourne, Halsey, the Chainsmokers, the late Avicii, Post Malone, Lana Del Rey, and several others to significant effect. Unfortunately, this falls into their most minor inspirational works category. I mean, not even U2’s Edge or Rage Against the Machine’s Tom Morello could add anything to this record because the producers, with all their effects, have pissed all over their contributions. I mean, let’s face it, Edge and Tom Morello are very unique in the way they play the axe and are fucking amazing too, but even they couldn’t rescue a lacklustre album. Maybe if the producers didn’t piss about on the songs they featured on, the album might be worthy of its No. 1 spot. It’ll probably get a lot of streams, but that could be people like me who are listening to make a review on it. The number of streams counts for nothing and needs to be a fair reflection of how well an album is doing. The sales of it could be a different story. I hope so; it’s awful.

What’s quite puzzling is that they are actually extremely good live and remind me of Muse. I am not a great lover of Muse’s studio material, but live they are in a different sphere, and those songs take on a life of their own. The same goes for 5 Seconds of Summer. Now, I was still deciding about giving them a chance live, but I was left really impressed with the performance and the interaction with the crowd. It also begs the question, are they with the correct label? Because they seem to want, the band to churn out generic pop shite rather than let them be as creative as they are live. 

I found “Thin White Lies” quite comical for its reference to cocaine, but the songs that really stood out for me were “Teeth”, which has a bass line that sounds like it was inspired by listening to Bloc Party or Maximo Park and “Lover of Mine”, which is the penultimate track for blending an acoustic guitar with dubstep. Those are the only genuine creative moments I heard in the thirty-nine minutes. I hope they consider their options for the next album and move to another label because this company stifles their creativity in the studio. Even though live performances are where it really matters, it helps to add some of what

you pick up on the road to your creativity in the studio. I can’t fault them live, but in the studio, there is much work to do, and they really need to work out what their identity will be on future albums. They need to leave this record label and find one that will let them bring their live qualities into the studio. 5/10

Week Thirteen: the Weeknd- After Hours

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I first heard of Abel Tesfaye in 2013 after listening to a live concert on YouTube, and I remember him for his unique look with his mad hair and crazy spelling of his alias. I was impressed with the songs “Wicked Games”, “Love in the Sky”, and “Pretty” off his debut album and a mixtape that featured his fellow Canadian Drake. Some have said that the debut “Kiss Land” was highly disappointing and didn’t live up to his work featured on the mixtapes from 2011 and 2012, but every album since “Kiss Land” has gone to the summit in his homeland.

Due to the critics panning his debut record, he changed it up for his sophomore record “Beauty Behind the Madness”, which came out in 2015. The best song off that record was the commercially friendly disco funk “Can’t Feel My Face”, which was a very clever way of concealing the song was about meaningless sex and drug use (Listen carefully, and if you’re of a certain age, it doesn’t take a genius to work it out.) There were also songs like “the Hills” and “in the Night” that stood out. For the third album, “Starboy”, the following year, he got Daft Punk on board, which were easily the best two songs on a rather overcooked record.

On his latest record, “After Hours”, Abel is trying to make music that appeals more to the fans of the 1980s with the sound and traditional melancholic lyrics.”Blinding Lights”, which is the lead single off the album has been number one for the last five weeks in the UK and sounds like nothing he has ever done before. It’s definitely a track that will appeal to the fan of 80s music. Then, the other track that sounds different from the norm is “Hardest to Love”, which sounds like a commercial version of drum n bass, and I could certainly hear it being included in a vocal section of a mix by Nicky Blackmarket and the like. I’ve heard that “Too Late” sounds like a UK garage vocal song, but I honestly disagree; I didn’t hear anything remotely like any form of garage on it, and the last song that sounds original, “Save Your Tears”, is very experimental. If I didn’t know I was listening to the record, I would have mistaken it for a new track by MGMT.

What about his lyrical content and song subjects? Have they changed much? Well, not really. He does venture out, but it’s for a short time. Although on tracks like “Faith” and “Save Your Tears” (The latter, I have mentioned regarding the originality of the sound.), he is reflecting on what happened in past relationships and apologising, but he can’t do it without being self-indulgent. His reflection and apology appear like it is to him rather than the ex-girlfriends. The record is entirely egotistical, too, as he brags about fucking women in the studio and then proceeds to mock the plastic surgery they have had done on their faces. He might pause and say, “I don’t criticise” when he talks about that on “Escape from LA”, but it’s more about him once again congratulating himself for his mistake of mocking those women for their physical appearance rather than being sincere.

You may be thinking, after reading my review, “Is it worth even listening to?” the answer is yes. This record is very much what got his name out there originally. It has a consistent story, the songs all fall in together, and although the record may have 14 tracks of pretty much the same with its production, it does change for three songs, so that’s something to look forward to with his next album because I can’t see him playing safe all the time. The deluxe album has 20 tracks, but the additional 6 are just remixes. My other laptop is closed, so I can’t be bothered to go and check on the remixes (I think it is the singles so far.). “After Hours” differs from the rest of his records and offers a preview into the next phase of his career. 7/10

Week Twelve: Niall Horan- Heartbreak Weather

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Of course, the lad from An Muileann gCearr (Mullingar) found fame after appearing on the X-Factor in 2010, where the band One Direction was put together (they finished third in that series.) and rapidly rose to be a world-renowned boy band. The band is no more at the moment, but that is a very grey area as the members are embarking on solo careers. Niall has remained grounded by all the success One Direction had and would prefer playing Oasis songs on his acoustic guitar and playing golf when taking a break from recording and touring.

If we are all being honest (Well, the Directioners, anyway.), no one was making any fuss about Niall’s solo career. The focus seemed to be on Harry Styles and initially Zayn Malik as well, but through this lack of expectation, Niall has been free from having a monkey on his back, and it seems to have worked as he is having a better solo career than the rest of his band mates. His debut album “Flicker” in 2017 went to the summit in three countries, including his native Ireland. 

As I listened to the opening track, which happens to be the album track, I was unsure if I could endure the ensuing forty-three minutes. It reminded me of the 1975, and if you know me well, I cannot stand that band. Despite the opener, you do have a range of tracks. “Black and White” sounds like One Direction, “Dear Patience,” and the closer “Still” are like ballads over acoustic guitars. “Arms of a Stranger” feels like a Lewis Capaldi piano ballad, and funnily enough, Lewis will be one of the support acts when the “Heartbreak Weather” tour begins in October (Well, maybe. With what’s going on in the world

at the moment, who knows?).

“Cross Your Mind” is a blend of the old with the new. I say this because the acoustic guitar reminds me of something Johnny Marr would have played in the Smiths. It probably is a sample of a Smiths song or a Johnny Marr song. When I heard it, it did sound very familiar. I was very excited to listen to the track after hearing that Johnny-esque intro, but then it went all modern and sounded like a typical pop song of late. It’s an utter shame, really, because a Johnny Marr-style song is what this record needed. Yes, Niall was trying to appeal to the Directioners as much as possible, but this lad is an indie rock fan. “Nice to Meet Ya” is where Niall chose to go all indie rock, though. Sounds very much like Arctic Monkeys infused with Kasabian. However, I think Niall is going to go down the synth route. 

I would like him to release something more to his taste as it’s risky and shows that he is not afraid to cause shock waves. The loudest ones in One Direction have had moderate solo success, but as they say, the quiet ones are to be watched. Even though Niall was quiet in the band, his actions speak louder than his words. I don’t mind listening to a whole One Direction album, but once a day is enough. The same goes for this record. If I was young enough to be in that generation, I might have got it more and be listening to it more than once a day. That being said, I like Niall and wish him every success. Why? Because he isn’t a dickhead and is more talented than the rest of the band. 7/10

Week Eleven: Paul Heaton & Jacqui Abbott- Manchester Calling

~ honestopinions19 ~ Leave a comment

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Although their band, the Beautiful South, broke up in 2007 and they got together as a duo in 2014, there are still signs that they have kept alive the spirit of the band, and that is very evident in this latest record. You have those typical Beautiful South-sounding songs. Although you may be familiar with the wall of sound in this fourth album, it is also their most original record.

Paul Heaton, as we know, is very set in his ways and doesn’t care for adapting his style for the modern world, but on this album, he gave most of the control to Johnny Lexus and his musicians to give the record a more modern feel blended with Paul’s timelessness.

From the opening bell, you are greeted with the in-your-face rock n roll track “the Only Exercise I Get is You”. Now, after just the first track, I am already paying full attention as an album that usually starts with a bang suggests it will keep improving. Then you have tracks like “All of My Friends” and “Big News in a Little World”, which follow in the same vein, but Johnny has added sprinkles of modern computerised technology in there with loops, electronic strings and samples over this 16-track record. It also works whether he has used ProTools, Cubase or Logic. Fair play to Paul for letting go and putting faith in his regular collaborator, Johnny, to give this album a different feel.

“MCR Calling”, however, is a darker sound, which fits in with the lyrics. Paul and Jacqui lament how the city has changed recently, has lost its originality, and is falling victim to the falseness we see infecting almost every city. I wonder if Gary Neville will enjoy the song’s last verse, which mentions his head being on a spike.

Regardless of the originality of this record, it is still quintessentially Paul Heaton with its timeless lyrics and catchy songs. There’s nothing artificial about it, and it focuses on Paul’s knowledge of life lessons, stories of real issues across the spectrum, embracing the losers and littered with comedy. A prime example would be “Somebody’s Superhero” and “If You Could See Your Faults”.

I love his wordplay and poetry on this album, and it is very much what Paul is known for. Although there have been severe and very personal issues on his tracks with the Beautiful South, as a solo artist or with Jacqui Abbott, it still has a very comedic feel despite the nature. For example, in “So in Love”, there is a verse that says “promise of wedlock” followed by “trapped in a permanent headlock”. That’s the kind of point I am trying to convey when I mentioned his songs laced with comedy, yet aggressive, too. This is a bit like the message conveyed in the Beautiful South song “Don’t Marry Her”, sung beautifully by Jacqui Abbott. It is hilarious, yet serious simultaneously with lines like “She’ll grab your sweaty bollocks, then slowly raise her knee, don’t marry her, fuck me”. Do you see? Funny and fucking violent.

On my coda (Most use the typical cliche of the final note.), it doesn’t matter what genre Paul might write for; he will always use his trademark lyrics and get the producer to get the music to compliment them. Although the Beautiful South have been disbanded for over thirteen years, they are kept alive in Paul’s music. When he and Jacqui get together, you feel like the band never went away. I have yet to say much about Jacqui in this review, which is not discrediting her contribution to the record, but Paul is the songwriter. I would be lying if I didn’t say Jacqui was as brilliant as she always is because she was. Her vocals still sound as fresh as when she took over from Briana Corrigan in 1994. The album hit a lull for me after the first four tracks but picked up after the halfway point, so all-in-all, it’s an outstanding, funny and sobering record. 8/10