Album Review

Week Forty-Five: Sam Smith- the Thrill of it All

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Well, it was the Brothers Howard and Guy Lawrence, aka Disclosure (A duo mainly consisting of garage and deep house.), who gave Sam his chance to break onto the scene when he appeared as a featured vocalist on the 2013 single “Latch” off their debut album, “Settle”—not forgetting his appearance on Naughty Boy’s garage track, “La La La”. Sam was well on his way to becoming a star in both of these appearances. His falsetto vocals, complete with emotion, were suited to both tracks. What followed was several top ten hits, Grammy awards and an Oscar for his 2015 song, “Writing’s on the Wall”, for the James Bond film, “Spectre”. 

Unfortunately, the song for the James Bond film didn’t have much power to it and was very undeserving of being the official song for the film. When you consider what has gone before regarding James Bond themes, mainly all iconic, but none lacking the action you see within the films. I wanted 2011’s “Freaky Teeth” by Noel Gallagher’s High Flying Birds to be the official song as it has power and even sounds ideal for the film (Noel is also a close friend of the current Bond, Daniel Craig.). 

So yeah. “Writing’s on the Wall” was far too tame to be the official theme. Anyway, back to his second album, “the Thrill of it All”. Well…it’s not very good and hasn’t improved much from his debut, “In the Lonely Hour”. That wasn’t an excellent record, but at least it was original. This record remains on that same level. Like most musicians, Sam would have looked to have turned it up, but unfortunately, here, he hasn’t.

When you see the stars featuring Lana del Rey and Frank Ocean, you can see the album should have had potential and been an upgrade to the debut record. “Baby, You Make Me Crazy” was way out of his comfort zone, and it worked. Far too often on this record, Sam retreats to his comfort zone and the same old same old. I’m afraid you’re not going to find anything groundbreaking on this record. It also appears to waste the talents of Timbaland on production.

Overall:

Well, not much to say really that I haven’t already said. A very mediocre record that doesn’t see Sam out of his comfort zone for an elongated period. Also, his lyrics were not up to much, considering he can sing. But all in all another album in the same vein as his debut and not much to write home about. This record (And his previous one) once again proves that I prefer Sam as a featured artist. 3/10

Week Forty-Four: Michael Ball and Alfie Boe- Together Again

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I have heard of both singers and know that they are tenors. Michael for various game shows and theatre shows plus, “Love Changes Everything” (Upon my research, I also discovered he was briefly in Coronation Street in 1985.) and Alfie Boe for his performance for the Who’s “Quadrophenia: the Musical”. I wouldn’t say I am not a fan of Opera, but I tend not to listen to it regularly. I can tolerate it and marvel at the vocal ranges when I hear it. 

“Together Again” is the follow-up to their 2016 album, “Together” (I bet you weren’t expecting that to be the title, did you?), and I have to say that I did indeed marvel at the vocal ranges and found the record quite impressive. Although there were usual cheesy Christmas songs chucked in like “White Christmas”. Another cheesy song I am not impressed by that featured on the album is the theme song played at Luton Town Football Club’s ground shortly before kick-off, “Bring Me Sunshine”.

I was impressed with the “the Prayer” and the unique way both delivered it. Also, the new song written for the live-action version of Beauty and the Beast, called “Evermore”, will raise the roof upon any auditorium they embark on.

There are songs, however, that are saturated or just are not made better in any way on this record, like, “You’ll be Back”, “You’re the Voice”, and even a song that I do love usually, “New York New York” (When I’ve DJ’d, I have tended to close out the night with this as it gets everyone up and singing.) I also could have been more impressed with the West Side Story medley. Don’t get me wrong, it was a different angle, but it didn’t work.

My favourite off the record is “As if We Never Said Goodbye”. You can feel the bromance as they sing the song at each other. This record is probably better than the debut (I wouldn’t know as I have not heard it yet.), I say that because the first record doesn’t have that much versatility. In contrast, this record has unique ways of delivering songs that usually are sung traditionally and would not add flavour or any other form of creativity for fear of ruining the original version.

Overall: It was a smooth listen. As stated in the article, I may not listen to Opera daily, but I have no qualms about listening to it. Indeed, what I know of Alfie Boe, he is a highly regarded tenor in England, and Michael Ball is a versatile, expressive artist. I enjoyed their creativity on songs regarded as classics and that they dared to venture into unknown territory. This is a three-album contract with Decca Records, and I look forward to whatever the lads will name their follow-up to, “Together Again”. Unfortunately, my mark out of ten is mediocre due to the West Side Story Medley and an overcooked “New York New York”. 7/10

Week Forty-Three: George Michael- Listen without Prejudice Volume 1 MTV Unplugged Reissue

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Sadly in December 2016, on Christmas day, George was found dead at his Oxfordshire home. The world was devastated by the news, as you can imagine. Although a very troubled, talented artist, George gave the world great hits such as 1987’s “Faith”. to pay homage to him, his second album, “Listen Without Prejudice Volume 1 MTV Unplugged” from September 1990, has been re-released. I was astonished that this album was elected for re-release when you consider all the bullshit he went through upon its release in America, where they just dismissed it as George trying to gain some credibility after he had left Wham! Indeed, they saw him as an arrogant prick who needed to be taken down from his pedestal and used this album to beat him with that stick.

To make matters worse, this record would also light the blue touch paper with his record label, Sony Music, where he was embroiled in a long and nasty contractual battle. Indeed, he even attacked Sony in 1996’s “FastLove”, where you can see him wearing headphones called “Fony”, evidently in the style of the Sony logo. By this time, he had already got out of his contract and feud with Sony and signed to Virgin Records and Dreamworks, respectively. 

The comeback in the mid-1990s would also see him finally coming out to the public as a homosexual. Although he may have signed to those two labels, he didn’t win the war with Sony. He accused the label of several things but highlighted the lack of promotions of his singles, albums and tours. By highlighting his lousy treatment by Sony Music, he set a precedent for other artists signed to major record labels to rebel against the constraints put on them within the industry. It has only taken until now for the American market to show their appreciation for this record and George after years of snobbery behaviour. To show how timeless this record is, most of the songs on the album, where George touches on the subjects of life, love and his sexual orientation through his lyrical content, are very much as relevant today as they were back in 1990.

Staying with relevance, “Freedom” and “Praying for Time” are probably more apt than ever during the current climate. Then, we have the jazz song with a pop flavour, “Kissing a Fool, ” which puts a smile back on our faces and makes us feel good about ourselves, taken from his 1987 record, “Faith”. There’s even a cover chucked in for good measure from the MTV Unplugged performance in the shape of “They Won’t Go When I Go” from Stevie Wonder’s 1974 album “Fulfillingness’ First Finale”. I must say that George gives the song justice.

Like the remastered “Faith” released in 2011, this record has been released in the following formats, CD/DVD, double disc, vinyl and available for digital download. The triple CD has the following, “Listen without Prejudice” remastered, the 1996 MTV Unplugged Live LP, various remixes, unreleased tracks and B-sides from the recording sessions for the record. Plus, a DVD with a plethora of bonus content. There is the remastered album and the MTV Unplugged Live performance on the other formats.

There is also a bonus disc that will certainly intrigue George Michael’s die-hard fans as it includes tracks from what was supposed to be the follow-up to this record called “Listen without Prejudice Volume 2” (Naturally.). Why was it aborted? Who knows, but it would have seen George return to the Disco genre. The following songs from the aborted record include “Too Funky”, “Crazy Man Dance”, “Do You Want to Know”, and “Happy”. Nile Rodgers also appears on the record with his production of “Fantasy”. This version by Nile is the first single off the reissue. Of all the albums George did in his short career, this one is the most timeless, and all the subjects featured are still relevant. It is also a fitting tribute to George’s talents.

Overall: I enjoyed this record. I must confess that it is the first time I have heard it (Well, the first time, I can recollect hearing it, anyway. I might have heard it back then and not known.). My favourite song of his is a bit clichéd. It is none other than 1984’s “Careless Whisper”. I remember hearing it on plane journeys before taking off in my youth and found it quite soothing. I don’t mind some of his songs with Wham! Like, “I Don’t Want Your Freedom”, but songs such as “Jesus to a Child”, “Careless Whisper”, “Kissing a Fool”, and “Don’t Let the Sun Go Down on Me” are my personal favourites. The second disc has my favourite track from this record, and it is the revamped version of “Fantasy” by Nile Rodgers. Although I must confess I am not a great fan of acoustic guitar, I love hearing songs played acoustically. It is well-known that most songs begin their life on the acoustic guitar. Artists such as Noel Gallagher, Robbie Williams, Vince Clarke and Andy Bell (There are more that I cannot remember at the moment.) start writing their songs on the acoustic guitar. Most great electric songs can be played in both forms, and that is the sign of a perfect song. I also liked this record because, unlike George’s electric songs, the acoustic versions give the songs a lot more soul, and you can feel and hear their true meanings. Sometimes, this is lost in electric because an awful lot happens, but once a song is stripped back, it reveals itself. This record is well worth the listen to hear the inner soul of the songs and is an apt tribute to George’s legacy and memory.

9/10

Week Forty-Two: P!nk- Beautiful Trauma

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By looking at the record name, you can tell that this will be a very emotional album and could well be autobiographical (It is). It talks about everything from her childhood, marriage, becoming a parent and the trials and tribulations we all face during adulthood.

P!nk said of the record that, even though life is laced with bad moments that can be very traumatic for us, the good far outweighs the bad, and she wanted to convey that message in this record.

She’s right, as the album features 13 tracks with beauty and trauma entwined and how they play out side by side in our lives.

Let’s start with the very emotional “Whatever You Want”, where she talks about hanging onto a fractured relationship by any means necessary. She talks about it being doomed but feels there is light at the end of the tunnel and how it makes her box on and tries to give whoever the man is on this track whatever he wants or needs to make the relationship return to how it began.

“What About us” talks about those used in relationships and how their feelings have been dismissed. “Barbies” talks about how life was so much sweeter, carefree and elementary when she was just in her room playing with her Barbie dolls. However, there’s also a contradiction within this track where she states that she can’t remember how life was more straightforward as a child. Finally, she questions the future and where we all go after all is said and done.

“For Now” is a yearning for a Utopian relationship (I think, that’s the terminology, I’m looking for?) and how to recover how we used to feel towards each other and just press the pause button to remain in that moment always. She also confesses that she is far from perfect, and what she says can cause her to destroy what she has with someone or cut them very profoundly.

We then have the epiphany moment, where P!nk realises that despite all her flaws, she has nothing to fear and can keep going straight down the road rather than looking for other directions on the song, “I am Here”. She might still be scared of her journey, but she’s willing not to stray and battle any storm that might come her way.

You can hear the same sentiment as those above in “Wild Hearts Can’t be Broken”. However, in “Secrets”, P!nk talks about moments in her life she is not particularly proud of regarding relationships with the opposite sex. She is confessing to moments when she has lied and hidden secrets. Indeed, she reveals that the truth is written all over her face, and now, she’s ready to uncover things that you will find extremely hard to take.

With “You Get My Love”, she is talking to her current husband, Carey Hart, and even though she is still not entirely used to the idea of being ready for her marriage, she adores him no matter what and will stand by him through thick and thin to make the marriage last for eternity.

Now, let’s look at one of the best tracks on the record, the title track, which is so aptly named for her seventh studio album. What I found very interesting and poetically tragic is that this song is compared to how you feel when your life becomes consumed by drugs, even though it is clearly about a very toxic relationship. You fall victim to it and become an addict. I find that beautiful yet tragic, but she is certainly onto something when she compares them. Being in a toxic relationship is like becoming a drug addict because even though, you want out, you get sucked back in again and can’t seem to resist another hit even though you know deep down that, you need to get out.

Eminem features in the very volatile “Revenge”. Do you need an explanation of the meaning of the song? The title explains itself, plus you have Eminem on it. What more do you need to know? Eminem is known for very passionate vocals and hard-hitting lyrics. Straightaway, you already know that this song isn’t laced with romance. He talks about how he will avenge his lover after she has cheated on him while using extremely derogatory terms directed at her throughout. I love Eminem, so as you can imagine, I liked this song and the truth about how someone feels when they are wronged in the most heinous way in a relationship.

The next song I will look at is “Where We Go”, where P!nk tells a fable wrapped in hopelessness where a relationship has no chance of surviving what it has already gone through. Not even a divine intervention will perform a miracle. “Better Life” is somewhat pessimistic, and instead of P!nk being in such a loving relationship at present, she feels very insecure and feels that her lover can do better with his life and have a better wife. The fear of this grips her so much

she is tempted to begin drinking and smoking again to an unhealthy level.

Overall review:

What an amazing record. I love the fact that P!nk has told her story through the means of her art and revealed to the listener all about her life up to the present day, which is very rare in a society where so many people in her profession like to put on this mask that all is rosy in their life, not necessarily through their music but how they are portrayed in the public eye. With “Beautiful Trauma”, you get everything from her happiness, confessions, honesty, bitterness, and explosive rage, as demonstrated in “Revenge” featuring Eminem. Some have said they are uncomfortable by her dark side, but to me, it makes her even more genuine as an artist and person. The album is aptly named. 9/10

Week Forty-One: Liam Gallagher- As You Were

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 Of course, we will never forget what happened in Paris at Rock en Seine Festival minutes before Oasis were due on stage to play one of their last three gigs (I think.), it was left to Bloc Party’s Kele Okereke to announce to the crowd that, Oasis had split up on that August bank holiday night in 2009. What happened? We’ve heard both sides of the story from both Gallagher Brothers, but the others who could give us an insight have so far refused to talk about it, albeit very vaguely. Like most of us, I was shocked and gutted that Oasis was no more, but I could see it coming from the three gigs I attended on their final tour (For now. Will they reform? I can’t see it.). Especially at the iTunes Festival, where Liam seemed in an extremely foul mood, you could see the apparent tension between the Brothers. 

Anyway, what happened next was Beady Eye (Fronted by Liam with the rest of what was Oasis.) in 2009 and Noel Gallagher’s High Flying Birds( A solo project, apparently.) in 2010 were formed. Beady Eye’s debut record, “Different Gear, Still Speeding”, did very well, and although I wasn’t that keen on it, I did like three songs off it. Unfortunately, they couldn’t build on the success of the debut record and had a very indifferent second album, “BE”, which left Liam very disheartened and made him decide to split Beady Eye up after the tour. 

While this happened, his brother had a successful period with Noel Gallagher’s High Flying Birds. So what was next for Liam? After making the odd cameo appearance in 2014 and 2015, he headed back into the studio to record his debut album, “As You Were”, and I’m not going to hold back, so I apologise if anyone reading this doesn’t like it. I will go into these things later in the review about what I mean.

Liam isn’t trying to head in any other direction than what Oasis fans expected from the younger brother. “Wall of Glass” was the taster off the album back in June, and I heard it everywhere. Though I liked the energy and the attitude in the track, I cringed at the guitar riff at the intro and between the verses. It ruined for me what could have been a very good song. As we get to “Greedy Soul”, it is quite obvious who this is directed at, even if Liam refuses to admit it. The lyrics alone are a clue. “You’re getting told, you greedy soul, you’ve been telling lies, you’re a slippery kind”. It’s either Noel or Liam’s sister-in-law, Sara MacDonald, with whom he has had many a public spat via social media and, of course, in private.

“For What It’s Worth” seems an apology to Noel soaked in Beatles-inspired music from the 1968 record, “the White Album”. It sounds a bit like “Hey Jude”, in my opinion. The next was one I found very surprising, considering that Liam promised a “Rock out with your chin out” record and “Chinatown” does not fit into this premise. It’s a bouncy melody played with an acoustic guitar where Liam talks about taking you through the streets of Chinatown.

“You Better Run” and “Paper Crown” were the best of a bad bunch. “I’ve All I Need” that ends the album suggests that this could be an egotistical song judging by the title, but it is not. It is a song of gratitude to his fans and, I imagine, his family and friends. It’s a tranquil and sincere ending to a record that was supposed to be a “Rock out with your chin out” album. I did like the final track, but it doesn’t remind me of the attitude of Liam. He did write some acoustic songs with Oasis, even though he declared acoustic songs as “shite” or something along those lines. He even loathed doing intimate acoustic gigs for Oasis.

Overall: I was very disappointed with the debut record by Liam. Especially after hearing, “It’s a rock out with your chin out record”. I had high expectations after watching Liam’s warm-up gigs. Still, after the first single, “Wall of Glass”, I felt we might be heading into the “mediocre” direction which we have, unfortunately. For me, Liam has not been vocally strong since 2003. Anytime after, I have found his delivery; although the raw emotion is still there, the voice is shot to pieces, and he sounds nasally and croaky. Almost like he has lost his voice from shouting too much; of course, the parka monkeys would argue the toss with me, but there’s no denying his voice is past its best. Liam has also been very naïve with this record and let the producers interfere too much with the sound. I find that quite odd when you consider him a guy who won’t be bullied or told what to do. Was he being naïve in the studio, or is it simply the fact he has never been in this position to take charge of what direction he wanted? It could be both, but there has certainly been meddling, and I can’t see that Liam wanted the record to sound like this entirely. He will learn his lesson next time to ensure none of this meddling. He has employed an army of songwriters to aid him because he hasn’t written anything good since “I’m Outta Time” for Oasis in 2008. It’s quite sad that his voice sounds great on this record, but you can make the worst singer in the world sound like an angel with the technology available on the mixing desks and software. Unfortunately, you cannot dress up vocals to that degree live, and Liam’s vocals have been absent since 2003. I wish him well, and he will have several fans as he did with Oasis and Beady Eye, regardless of how they view his vocal performance live. 5/10

Week Forty: Shania Twain- Now

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Swingin’ with My Eyes Closed: 

We start the record with a typical Shania Twain track that fits into her 1990s sound with a short guitar riff. Still, rather than the guitars playing throughout the song like they would have done back then, they gradually fade before you can hear what sounds like steel drums taking centre stage and taking us somewhere else that we would never expect Shania to take us with. I’ve never listened to a Shania Twain track so far removed from the country as this. It’s like a country and calypso-infused sound.

Home Now: 

Ah, now we are back to the typical Shania Twain sound as her country roots come to the fore with this track that features banjos, fiddles and guitars. A song that you would hear in Nashville bars.

Light of My Life: 

As you can guess from the title, this track is about romance and is sung by Shania in narrating mode rather than a personal experience of hers (Who knows? Maybe it is her own experience.), where she takes on the role of a secret admirer expressing their feelings to a crush who is blissfully unaware. You could say that the song is a bit like the Police’s “Every Breath You Take” as it is rather sinister and unsettling that the secret admirer will reject all other offers in the hope of getting with the crush who has no idea of their existence. The song is wrapped around drum loops and the melancholic chords associated with songs such as this (Or, in the case of this track, just the one in Em.). The chorus, though, sees Shania deliver a fantastic hook that has been absent for twenty years in her songs of late.

Poor Me: 

This song is very personal, and Shania proceeds to tell the story of her divorce that happened almost ten years ago and how her heart took ages to sew back together (Naturally). There are some powerful lyrics in this one, and it even mentions that she caught him out lying and how he could leave Shania for another woman. In the short chorus, she seems to be forgetting about all the pain and asking the listener, who must be the person behind the bar hearing this story, to pour her another. So, yeah. This song is seen from the perspective of Shania drowning her sorrows and pouring her heart out to the person behind the bar who keeps filling up her glass when she requests.

Who’s Gonna Be Your Girl: 

I loved the background vocals in this sappy love song that opened with tremolo guitar and built up nicely into the very harmonious chorus.

More Fun: 

Another track that showed Shania’s versatility as an artist. This track would look good on Broadway and in London’s West End with thumping piano and Cabaret sound throughout. I can’t imagine it ever being a single because of this, but it does work, and who cares what those who dictate their record collection by what’s in the mainstream charts think, anyway.

I’m Alright:

 It looks like a follow-up to “Poor Me” as Shania foretells what unravelled after the divorce and breakup with her ex-husband while a soft acoustic guitar accompanies a thumping drum beat. The actual moment of the song, though, is when the sound of thundering hand claps meets the chorus, which she does acapella, as you would hear at a gospel church service.

Let’s Kiss and Make up: 

Well, another song that showcases her will to experiment as we now hear a track with a reggae and calypso sound that makes you feel that you are on a Barbadian beach until you are greeted by the guys you hear on the Doritos advert in the shape of Mexican band, the Mariachis as you can listen to all the horns ring out in the chorus.

Where Do You Think You’re Going: 

This track could easily feature as part of an official soundtrack with its angelic chorus and the fact it is a piano ballad with sublime vocals by Shania.

Roll Me on the River: 

Wow. Taken by surprise with this song. Don’t forget that Shania is originally a country artist, but this song should have Ladysmith Black Mambazo with its sounds of Africa.

We Got Something They Don’t: 

A track very much harking back to a vintage Shania love song. You have thumping percussion, a smooth bass line and many horns. I also noticed a very Michael Jackson-esque harmony on the outro, and you have to wonder, is Shania paying some homage to Michael?

Because of You: 

Yes, it is named after a Kelly Clarkson song, but no, it is not in the same vein. Instead, Shania has gone for a sentimental love song with this. It is dedicated to her current lover and sees her finally recovering from the heartache of a failed marriage. She mentions in the lyrics, “Because of you, I’m me”. This suggests that she has finally rediscovered herself through her new flame after all that happened. The song is completed with soft acoustic guitar playing, and I imagine that the drummer used brushed drumsticks, as the drums are soft, too.

You Can’t Buy Love: 

A song about how to deal with and overcome all those tricky situations we all incur at some point along our road in life. It features hand claps, several harmonies and a jolly chord progression that envelopes itself in the primary melody.

Life’s About to Get Good: 

As you can see from the title, the premise is that Shania is walking away from her past and heading towards the here and now. This track was released to tease the album, and I can see why that was. This song is not only uplifting and full of optimism but is undoubtedly ready for the arena when she heads out on tour with its anthemic country hooks accompanied by a rather unusual taste of electronica pop. Looking at my research, I also discovered this song scored her a first top 40 billboard chart hit in well over a decade. Did Shania have a premonition when she wrote and recorded this track?

Soldier: 

Ah, another song that has a familiar theme across the pond. A loved one expressing how much they miss the soldier who has been away on a tour of some war-torn country for longer than the narrator here finds necessary (Is any war needed? In my own opinion, they are all fucking bollocks created by idiots who want to steal another country’s oil. Too much? I don’t fucking care. That should be accurate for those who are wide awake. Anyway, back to the song and off politics (How ironic. The song is political, anyway.), this heavily keyed piano ballad and Shania’s emotional and soaring vocals completed with strings could well be used as a track for a film about the subject or maybe even a drama on HBO? It’s a highly emotional song and does more than justice on the subject.

All in All: 

The title suggests that this track summarises all the feelings she has laid bare on the record. Indeed, it is her reminiscing and looking forward to all the good and bad times she will cross along her path. This coming-of-age track features a nice guitar riff with an eighties feel. I was surprised that the record ended in a mid-tempo vain when I was expecting a very soft piano ballad.

Overall:  Fucking hell. We discovered an awful lot about the trials and tribulations of Shania on this record. I will not lie that some of the tracks affected me (So what? I get emotional. I write poetry, so I can relate.). The lyrics were both uplifting, emotional, melancholic and eye-opening. Especially “Poor Me”, where it’s all aired about how she felt

during her divorce and the events that lead up to it. I was surprised to hear Shania deviate from country and rock to venture into reggae, calypso, gospel, rnb and electronica. Not to mention the sounds inspired by Africa where it would have been wholly appropriate to feature Ladysmith Black Mambazo, Labi Siffre, Baaba Maal, I could go on and on (Yes, I know my African musicians and bands. Surprised? Don’t be. I have a very eclectic taste.). It certainly was a departure from what we all became accustomed to during the early years of her time in the music industry. Some tracks could feature in films or the type of dramas you see on HBO. Now, that does show her diversity. She should have ended the record with a light piano ballad, which would have been perfect. As we know, the final track is titled “All in All”, so when we summarise events that have happened, we tend to talk about them calmly and soothingly rather than raising our voices in anger. That would have made for a better ending. All in All (Excuse the pun.) Shania is back and more than capable of producing another brilliant album when she is ready to return to the studio. A side note from this, Richard Ashcroft was on Twitter talking about how Liam Gallagher’s debut album was number one. I corrected him and said that was currently Shania Twain’s record, to which he replied, “That don’t Impress Me Much”. 9/10

Week Thirty-Nine: the Killers- Wonderful Wonderful

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In the News Musical Express, I once read that frontman Brandon Flowers spent most of his time apologising for the last album. So, was there an improvement from the 2012 record, “Battle Born” (I actually didn’t find it all that bad.)? To be blunt, yes, there was.

This record has gone more diverse with its sound, akin to upbeat indie, psychedelic and country. If I were to draw comparisons, Arctic Monkeys, Tame Impala, and Mumford and Sons have inspired them. It will certainly be a shock to the system for the avid followers of the band and may turn them off their music. If it does, then you’re just ignorant and close-minded to the fact that with music or any art, you are free to express yourself in any way you wish. So, I tell the avid followers to listen with an open mind. There’s quite a bit of a 1980s touch to the album, and it is choc full of great tracks that are uplifting despite it being only ten tracks long.

“the Man” was the first single to tease the new record that is the second track in. I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music in the 80’s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have definitely liked it, then.). Bad start to the album? Well, it’s 50/50, as I quite liked the title track.

My favourite track off the record for me has to be “Some Kind of Love”. This slow-paced track grabs your attention from the very first listen. The track sent me into a zen-like state with high-pitched backing vocals and Brandon’s soft vocals that allow you to take a break from reality and enter into another realm with nothing but peace and harmony.

The next standout track on the record was the track that followed, “Some Kind of Love”, titled “Out of My Mind”. Brandon actually wrote that track for his wife Tana, who suffers from anxiety and depression that led her to be diagnosed two years before this record was released, with post-traumatic stress disorder that was the result of her tough time growing up as a child. Already, you can tell this track is very emotionally charged, and Brandon certainly delivers that 

with heartfelt vocals. 

Most of this album has tracks that mention the emotions Brandon was experiencing in 2015 when he came off his solo tour to look after his wife. He stated that he found it extremely difficult to talk about her condition on the record but that it felt very powerful and helped him through a difficult time for both of them. Brandon even name-drops on this track about encounters with Paul McCartney about how the Killers met him at New Year’s Eve party, and he was too overcome with emotion to speak to Paul’s daughter, Stella, who was filming this gig. Then, he mentions how he tried to impress his wife when he met Bruce Springsteen, but all she was interested in was that she wanted him to be a good person and the ideal husband.

Overall: I loved that the album touched on the issue of mental health hidden behind an array of music genres and that Brandon let all his emotions flood out at a challenging time. I also found it extremely sweet that he practically dedicated an album to his wife, and although I didn’t like “the Man”, he pretty much conveys the message that he is the only one for her and will stand up and be counted. I’m sure Tana was very touched by “Wonderful Wonderful”. As I said previously, I didn’t think the previous album, “Battle Born”, was as bad as Brandon makes out, but this record eclipsed that easily with its raw emotion and touching on a subject that is a long way off losing the stigmatisation that envelopes it. Not only is it a great album, but it raises further awareness about mental health. With music’s power, the message certainly won’t be disregarded. 8/10

Week Thirty-Eight: Foo Fighters- Concrete and Gold

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Concrete_and_Gold_Foo_Fighters_album

Here is a track-by-track review of the latest album by the Foo Fighters:

T-Shirt: 

This is an exciting start to the album. I wonder what the thinking behind the concept of opening with a short song is about what the title suggests. But it’s what adds to the magic of the Foo Fighters. They purely just don’t give a fuck about making music to line their own pockets. They do as they please, so in all fairness, this type of song isn’t a surprise when you consider, they have done a parody song about Mentos (“Big Me”. Remember that? What a fucking brilliant song that was.). I must admit that whenever I see a pack of Mentos or see someone consuming them, I think of the obligatory video in my head, making me smile. They even have a comedic lyric in this song that makes me smile whenever I hear it. “I don’t wanna be Queen, Just trying to keep my t-shirt clean” Only they would come up with a song such as this that would leave most record major labels recoiling in horror, but they don’t care. Fair play to them.

Run: 

The second track is quite funnily the first single released off the record earlier in the summer as a teaser, some might say (How ironic that I mention an Oasis No.1 single there when you consider Dave Grohl is an admirer of theirs? Foo Foos even covered, “Lyla” for BBC Live Lounge (I think).). Was this track a safe bet to release as a single to tease the album? Well, in short, probably. It would undoubtedly have got avid fans on board because it is definitively Foo Fighters. Frontman Dave Grohl starts very laid back in his delivery before getting more aggressive and full of rage (You could say very passionate.)as the chorus reveals the song in its traditional Foo Foos glory.

Make it Right: 

Well, here is one thing I didn’t expect from a Foo Fighters record, but it shows that they won’t bow down to what record companies want their artists to churn out. The former NYSYNC member Justin Timberlake is featured, but calm down if you’re a Foo Foos fan who disagrees with pop stars working with the band. Just relax, okay? It is better than you think. All Justin does is some melodic vocal ranges. Dave is still the chief vocalist and in control of what one would describe as a ballad full of pain.

the Sky is a Neighborhood:

Once again, another song featuring a fellow musician. This time it is none other than someone Dave and the rest of the band genuinely admire, the former Beatles, Wings and Nirvana (You heard me right. Nirvana. Albeit very briefly in 2013, I think.) member, Paul McCartney. Shockingly, Paul isn’t on the guitar or piano but takes over from Taylor Hawkins on this one (The band’s drummer if you still need to learn.). Another ballad that talks about the universe and how we behave on this planet affects it.

La Dee Da: 

It’s not to discredit the following band I am about to mention, but this had an Aerosmith feel. I have to confess that I can’t stand them. Maybe, it was hearing “I Don’t Want to Miss a Thing” on every fucking radio station during 1998 when the film Armageddon was released in the summer that put me off them? I don’t get the hyperbole surrounding them. Dave is channelling Steve Tyler’s vocal spirit in this one, and all the screaming takes away the listener’s chance to get immersed in the lyrics. Music isn’t about listening to the beat or your favourite instrument, but rather the music as a whole. I like listening to it all, but I switched off quickly from this song, waiting for the following track. I will need to Google the lyrics to this track to see if the song is deprived of its beauty.

Dirty Water: 

A sobering song on the record. As we know, the Foo Fighters are known for their energetic rock numbers, but this one is more like hearing those rock anthems we have come to love by them stripped back and revealing the very soul. I say that, but it starts to get progressively more rock as it enters the chorus. Although, it does begin with Dave’s soft vocals and a very original direction sonically for them in the shape of something you would hear from the Caribbean islands. It again shows that they are not afraid to experiment and change direction. A very refreshing track indeed.

Arrows:

This track tells the story of a girl who is eaten up by all the evil in the world. The following lyrics tell the whole story in a nutshell of the song. “She had arrows in her eyes, Fear where her heart should be, war in her mind”. A lyrical track like this would fit nicely with a Morrissey song or even the Smiths if they were still around. It also reveals chillingly how the modern world is. So many people are consumed by war, fear and just pure evil. I would want to get off if this is how everyday life will go.

Happy Ever After (Zero Hour):

Ah, a track that repeatedly poses that age-old question, does this exist, or are we all waiting in vain for that moment? As we reach just over the halfway point of the album, the mood has changed to a significantly slowed folk pace (I would say so.). The guitar is gently plucked as Dave sings with a very calm and serene voice. He even dashes your hopes of superheroes ever existing (We know they don’t, but still. What a bastard, eh?) while asking, “Where is your Shangri-la, now?”. I loved the whole melody in the song and the mini guitar solos you can hear midway through and on the outro. I was trying to put a similarity on this one and couldn’t think of just one that would be in the same vein with the nature and the sound of this track (Nick Drake, Bob Dylan, Damian Rice, John Mayer, Bon Iver, to name a few.). I also had this image; I’m sitting in an American village near the cornfields while watching the Foo Foos play this one on the porch. Surprisingly, what I found refreshing about this song, is that you can hear whoever is on the rhythm guitar (Dave maybe?) when they change frets. They can remove this element with all the technology at the disposal of the producers and sound engineers in the studio. Still, it adds to the authenticity of actually recording in the studio. Plus, you hear them changing the frets during live performances on acoustic songs.

Sunday Rain:

One of my favourite parts of a Foo Foos record. The time for Taylor Hawkins to step up to the plate and take lead vocals (He even has a cover band where he performs Queen songs. I forget the name of it.). I am a big fan of “Cold Day in the Sun”, so I loved this track on the same level. The song starts with a steady drum beat followed by a guitar solo, which I could easily see being played by Noel Gallagher. Taylor says that after your wild weekend is finished, don’t approach him with sympathy and drag down his mood while you nurse your hangover. He is indeed talking about life in general. He wants to enjoy living in the moment than listen to all your melancholic fables. There are lessons some individuals can take away from this.

the Line: 

Ah, a typical Foo Foos track (Lyrically, anyway.) that talks about everything we put on the line to get to where we are heading. We must endure all the blood, sweat and tears because otherwise, what is our end goal? Is there any point in doing this if we cannot throw all our cards on the table to seek our destiny? It sounds like a song by an Indie band in England that I can’t think of at the moment (Skint and Demoralized, I guess.). I love the message conveyed in the lyrics, and I strongly recommend you listen deeply. I will say that sonically, this sounds more English Indie. If Dave’s vocals were not on it, I would have assumed that an indie band from England was on this track (Let’s not get pedantic. I mean, if it wasn’t on this record, obviously.).

Concrete and Gold:

The title track sends us to the end of the road (Cheesy line when you consider what will be mentioned soon.). The final track features Boyz II Men member Shawn Stockman doing backing vocals on this eerie ballad as Dave talks about maybe a relationship between two lovers and how the roots of it are more potent than concrete, which makes it hard to let go as it is littered with gold to the two lovers, even though to those of us looking from the outside, it is heading towards impending doom. Very strange ending to the track that builds slowly in verse one, hits its peak in the chorus, drops off in verse two, rises again in the chorus, and drops to an even slower pace than the introduction and verses in the interlude that lasts about a minute, repeats the same cycle for verse three and the chorus and then ends with a whole minute of feedback.

Overall: A perfect record indeed, and I especially liked “Sunday Rain” and all of the lyrical messages conveyed on the majority of the tracks and how it could be seen as very educational on how to live our lives and heed the warnings of what the consequences could be if we don’t learn to bring peace to the world. My only issue with it (Apart from the cringeworthy “La Dee Da”) is that after five tracks, the pace drops dramatically and never rediscovers the moment when we have that punch-the-air feeling to see off the record with a bang. The title track to close off the album could have ended in true Foo Foos fashion, which I would have loved to have heard, rather than them going out with a cerebral ballad. In my opinion, every record should have an upbeat introduction, a full-on first section, a calm middle section and then an frenetic closing section. 8/10

Week Thirty-Seven: the National-Sleep Well Beast

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The National are very much like an individual with a split personality. What am I referring to when I say this? Well, they make songs that wouldn’t look out of place for a documentary on climate change or feature on an album for tranquillity, but then Matt Berninger is a different animal onstage. Almost like the inner beast has been unleashed and the rock star attitude brought to the fore. Onstage, Matt jumps around like a hyperactive monkey on speed and interacts with the crowd. Ergo, the split personality I speak of. 

Matt has been quoted working on previous albums as saying, “How the fuck can you get wild while looking at a fucking tranquil pond out of the window?” or words to that effect. This time however, with their seventh album, “Sleep Well Beast”, they have left the peace and tranquil surroundings and recorded in the hustle and bustle of New York City, which has led this album to unleash that Rock star attitude we are familiar with during their live performances. Albeit the album takes the theme of all things middle-aged, like struggles in a marriage, relationships, feelings of regret and being too worn out to fight your corner during arguments because you’re so that fucking fed up with arguing and wasting energy that you felt was just during your younger days.

The song “Day I Die” talks about drinking or smoking weed to avoid arguments and the frustration of being irritated by your significant other but not feeling any different. However, those drugs are known to block out any worries on your mind. So ultimately, instead of helping the situation, you exacerbate it by annoying your lover.

This album feels more like a novel broken into several volumes through music. Indeed, it could well be an audiobook by Matt, and co-writer Carin Besser (How’s this for irony? That’s his wife!) concealed within an album as they frequently talk about the subject of middle age. You would have thought that this album could well end their marriage, but surprisingly none of them feels hurt by the emotions laid bare on, “Sleep Well Beast”.

At times, despite appreciating the album’s consciousness, you wish it would move onto more uptempo songs rather than the baritone vocals supplied by Matt. When the tempo does change, fuck me, it is worth it. You have the psychedelic “Turtleneck”, the Radiohead inspired, “I’ll Still Destroy You”, and the wonderful guitar solo on “The System Only Dreams in Total Darkness”. The latter is my standout and the band adopting reckless abandon and showing the onstage attitude that makes their live shows so amazing. Maybe the factor for this track was because they were in the big apple. I hope the next album will feature a lot more reckless abandon and show everyone that the National are much more than a soft soul.

Overall: Surprisingly, I enjoyed the album and liked the conscious subject being narrated. Albeit, if I were at a party or something, I wouldn’t be that amused if someone rambled on me about the struggles of being middle-aged. I’d probably tell them to fuck off, in fact, and let me enjoy myself. But as mentioned, when they let go, the sound is fucking amazing, and they really take you in a different direction with plenty of rock n roll swagger on display. The guitar solo on “The System Only Dreams in Total Darkness” sends chills down my spine and makes the hairs on the back of my neck and arms stand up, as well as the soaring chorus with the line, “I can’t explain it, ah ha, any other, any other way”. By the way, Matt Berninger has an uncanny resemblance to Liverpool manager Jürgen Klopp.

8/10

Week Thirty-Six: The Script- Freedom Child

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the-script-freedom

Frontman Danny O’Donoghue and Mark Sheehan have known each other since childhood, so, as you can imagine, history adds to the chemistry before drummer Glen Power was recruited. Still, the harmony was already set in place, so it didn’t cause any problems with him joining and helping the band further find their wall of sound and identity. Quite predictably, the band scored number one with their debut album back in 2008 in mother Ireland, with hits such as “We Cry”, “Breakeven”, “the Man Who Can’t be Moved”, and my favourite off the self-titled debut album, “the End Where I begin” not just capturing the attention of their homeland, but the world over. The style of music they are famed for doesn’t just revolve around one genre, but quite a few blended, which is pop, rock, hip-hop and r&b, and helped with their sophomore album from 2010 titled “Science & Faith, and then their third and fourth albums, “#3” and “No Sound Without Silence” released in 2012 and 2014 respectively.

On their latest record titled, “Freedom Child”, the band have decided to experiment and take up the challenge of adding different sounds to their tracks and choosing to head down the electronic route this time (No, not the band from the 1990s co-fronted by Bernard Sumner and Johnny Marr). So, after the band took a short break from the scene, have they become rusty, and does this new direction to their sound work for them, or is it a gamble that didn’t pay off?

The record takes no prisoners and is honest, noble and positive. Of course, you are wondering if there is the trademark originality that we’ve become accustomed to with their sound, and the answer is, yes, it is still there but with electronic pop blended into it. Will you love it or hate it being a fan of theirs? Well, it is like marmite, so the choice is entirely yours. Give it a chance, though, because it is still an excellent record, and the message conveyed within the record is their usual love over hate.

The intro is very refreshing indeed. Almost like the band were recording on a cassette recorder as you hear the tape being into the player, and then a bass riff that becomes lodged into your head follows. The record then starts with “No Man is an Island”. A third-person perspective tells the band that regardless of how they feel, he/she is there to help them through. It is noticeable that Danny’s vocals have matured and improved since the previous records as he sings along with the electronic reggae sound.

The next track I will talk about is “Arms Open”, your more traditional song for the Script, where the stripped-back sounds elevate Danny’s vocals while the listener can relax and feel at one with themselves.

I also liked the catchy “Deliverance”, a Sonic Youth-type song with pop added in. It is highly bass-heavy, but it has a fast tempo to capture your soul and make you feel the music instead of losing interest. I also loved the political messages conveyed in this record. Especially the track “Divided States of America”. The name even screams political and controversial as you know, it will be aimed at the current president, Donald Trump. This track encourages everyone in the States to notice what is happening and unite during these times rather than fight against each other. 

The sound used is entirely military-minded as Danny sings over drums that resemble a marching beat you hear at military parades worldwide. He may talk about violence, hate, racism, et cetera on this track, but the ultimate message conveyed to the listener says, “You better reconcile before it is too late, and we become consumed by hate that ultimately end with war and death”.

“Written in the Scars” is an intense track and talks about all the times Danny has been hurt over gently plucked guitar strings that further add to the effect of the subject. The song leaves you with a sense that we should wear our battle scars with pride and how they have shaped us through the years to grow stronger and overcome whatever caused the wounds in the first place. Although a deep track, it is worth noting that Danny sings confidently about the matter. 

This is the standout track on the 14-track album for that very reason. Some of us who have listened to the record might not necessarily live in America (Referring to “Divided States of America”), but we all carry scars from events in our lives that are lessons of life that help us get more robust and wiser when they start to heal. A very sobering track, but a message we can all relate to.

The penultimate track is “Awakening”, which is an interlude with angelic piano sounds that leads you into the closing track, which is also the title track (I’m not even going to divulge what it is called. You should already know if you have been paying attention.), which is kind of like a mantra to remind you to be free, love rather than hate, and always to dream and block out the white noise that surrounds us in everyday life—a very uplifting message to end a very upbeat record.

My only real qualm with “Freedom Child” is that some of the songs could have spent more time in the studio being fine-tuned. Also, only half the album captures your attention, despite the lyrical content and the issues grabbing hold of you. The record as a whole is inspirational and full of honesty rather than being blinded by ignorance, which so many sadly in this world would instead be consumed by, rather than being awake to what is happening. Although I have said that only half the album is worth listening to, several tracks in this review that I have mentioned will capture you and render this album worth a listen and a gamble that has paid off sonically for the band.

8/10