Album Review

Week Five: La La Land (Official Soundtrack)

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Another Day of Sun:

The introduction is upbeat, with a bouncy piano riff and a harmonising female vocalist. I felt warm inside listening to the track and its jazz feel. It feels like something out of a Broadway show or, as I live in England, a theatre show from London’s West End. It’ll certainly get you all dancing. The song ends with a big fanfare, which grows into some car horns.

Someone in the Crowd:

This certainly feels like I am watching a show in the theatre, and I can see many smiling faces around me moving their body and head along to the music. This song also seems inspired by Coldplay’s “Viva La Vida”, and I can hear Chris Martin’s vocals in my head as it bops along to the melody. The breakdown is very sudden and will take You by surprise during mid-song. This is followed by what appears to be clarinets; the trumpets kick in before an array of vocalists can be heard to close the song out.

Mia and Sebastian’s Theme:

A sweet and delicate piano playing introduces (kind of like the ambience You would find in a restaurant to further your experience and enjoy your meal). This is very short and ends with slightly more pace.

A Lovely Night:

The first thing I feel when I hear this is that I am floating on a cloud. Again, a very relaxed song that puts a smile on your face and gets you lost in the moment. I got a sense of Chris Rea’s “Driving Home for Christmas” when I heard this. I love the orchestra; that compliments the jazz piano well. Dare I say it; there’s a slight hint of mild Drum n Bass in this.

Herman’s Habit:

The introduction has a jazzy feel with the Buddy Rich-esque drumming accompanied by trumpets, piano and saxophone. This wouldn’t sound out of place at Ronny Scott’s or the Jazz Café in Camden. Too short for my liking, though. You don’t get a chance to get into it.

City of Stars:

This starts as if it is a lullaby and features the vocals of actor Ryan Gosling. His delivery is done with such conviction that it makes the listener believe he means every word he is projecting with his voice.

Planetarium:

A sweet clarinet accompanied by the harpsichord introduces this song and throughout. It makes me think I’m watching a play somewhere in Italy. After the break, the orchestra takes full effect bringing a very classical element.

Summer Montage/Madeline:

Again, back to the jazz that has featured heavily on this album. I enjoyed this song, albeit it was a short instrumental.

City of Stars:

Part two is with both cast members, Ryan Gosling and Emma Stone. This song is unique from part one because Emma’s accidental giggle made the final version. When they both sing simultaneously, they appear to be synchronised, which shows that these actors can also sing correctly.

Start a Fire:

The only track written on the album by a man that has been around (at least mainstream) since 2005, John Legend and more than deserves his legendary status despite his short time in the mainstream (I would say that 12 years is relatively short compared to most of the legendary music icons). The introduction features an audience cheering and whooping, welcoming the beginning bars of John’s vocals. This has a typical John Legend feel, complete with backing female vocals. There is even space for a synthesiser solo. His lyrics touch on starting a fire in the sense that their relationship (I’m assuming this is some romantic film) can be more than just standard and that they can show pure love and devotion to one another. He could also be talking about passionate lovemaking.

Engagement Party:

The song title suggests that the romance has reached a whole new level, and one has proposed. This song is likely featured at an engagement party they have put on at their house or some other venue—a short piano riff.

Audition (the Fools who Dream):

The introduction is a spoken dialogue by Emma Stone before turning into delicate vocals accompanied by a piano and then later by a full Orchestra. The lyrics mention various expressive arts occupations and a nod to the dreamers, no matter how unrealistic or difficult it might be to achieve their ultimate goal.

Epilogue:

This is one of the most extended tracks heading towards the album’s end. It features snippets of all the songs I have heard so far.

the End:

The shortest song on the album (a mere 46 seconds) features piano, strings and a celestial choir.

City of Stars(Humming):

This is the third and final part of the song that features Emma harmonising with her humming throughout (except towards the end, she decides to “ba” and “dah”) with a plucked acoustic guitar.

Overall:

I have no knowledge (Nor care) of what the film is about; I only reviewed this album as it was number one in the charts. Nonetheless, I enjoyed the soundtrack and moved my head along with the music. I have a very eclectic taste in music, and I love this album’s jazz and classical feel. I still won’t watch the film as it is not my preference, but I would definitely listen to this soundtrack again. All the songs were great, and the actors also did a good job with their vocals, not to mention it had a very West End production aura. Even if the film is not your thing, I recommend listening to the soundtrack regardless. 8/10

Week Four: Pete Tong with the Heritage Orchestra Conducted by Jules Buckley- Classic House

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Classic House-Continuous Mix:

This may well be the opening track, but if you want to keep listening to the album, listen to the opener first, as this is the whole album in total, but with the usual DJ techniques of beat matching, et cetera. After listening to the album track-by-track, come back to this part and appreciate it as a mix.

Right Here, Right Now: 

The track is opened with an array of stringed instruments, adding a wholesome tone to the classic 1990s track. The trumpets follow before Pete gets on the decks and brings in the vocal samples. The track sounds grandiose and wouldn’t look out of place in any classical music hall.

Pjanoo:

This dance anthem begins in its original form before the strings enter. They then gradually feature throughout the song. I love the orchestra in the chorus.

Lola’s Theme ft Cookie: 

The intro begins with steady violins, and when the whole orchestra kicks in with Cookie’s vocal, it is like something straight out of heaven. The Heritage Orchestra compliments this feel-good track well, and I’d be shocked if this track version does not feature across nightclubs. It is a floor filler, albeit a bit short.

Children:

Ah, the track that made Roberto Concina’s (Robert Miles) career kick off in the mid-90s (well, outside of mainland Europe, anyway). I felt nostalgic at this point, but when the strings compliment Miles’ piano riff, I felt a tingle down my spine. Again, the track could be longer.

9pm (Till I Come): 

I love how the strings follow the same rhythm as the classical guitar. The most surprising aspect is that Pete decides on beat matching and brings in the next track (Go), which will take the listener by surprise.

Go: 

Again, the strings feature at the intro, chorus and breakdown, keeping in with the sombre feel of the original. Pete, again, beat matches and brings in the next track.

Your Love ft Jamie Principle: 

Rather than cutting into the next mix, Pete decides to beat match for a bit longer on the intro to “Your Love” with the orchestra accompanying him. As Jamie Principle comes in with the vocals, Pete is still beat-matching, but do You know what? I like it, and it certainly shows off the skills of the legendary DJ (I hope he was using vinyl to reiterate that point further). The orchestra sure makes this version of “Your Love”, dare I say it better than the original.

Good Life ft Katy B:

Very interesting how Pete has opted for the talented Katy Bryan (Katy B) rather than the original vocalist. Another upbeat number was complimented well by the orchestra. It also makes the listener question how on earth, the producers of the original versions didn’t think to use more classical elements. I am enjoying this track, nodding my head and clicking my fingers.

Belfast:

We are now entering the second half of the compilation album (with a twist), and it hasn’t disappointed so far. I hadn’t heard of “Belfast” (Not knowingly, anyway. It turns out, I have listened to it several times without knowing its name.) until I heard it on this album. It has a chilled-out feel and is an indicator of things to come.

Smokebelch II:

I don’t know where the original is on this short track, but I love the steady pace of the strings. The listener might be forgiven for thinking it is merely a break into the next track.

Where Love Lives:

The album has taken a substantial upbeat turn with Alison Limerick’s “Where Love Lives”. It sounds like Limerick’s vocals were sampled for this orchestral remix, which is a real shame. The strings add zest to the otherwise soft and lonely break. The outro is perfect for that closing song as the DJ brings down the clubbers, who head for the exits.

Rachel’s Song:

Again, this track, with its angelic vocals and celestial orchestra, is another skit before the next track.

Porcelain:

It didn’t make Moby an established artist, but it helped him on his way (“Play” was probably the album that helped him). I know Moby uses strings in the original, but throw in the Heritage Orchestra; it sounds much fuller. When the Orchestra kicks in on this piano riff…wow, just wow.

Waiting All Night ft Ella Eyre: 

Ella Eyre’s vocals greet the listener’s ears. This is undoubtedly a great spin on Rudimental’s original. There is no drum n bass element, but soft vocals by Ella accompanied by an angelic sound of the orchestra. It appears that Pete has gone for a chilled-out vibe to the second half of this album (albeit “Where Love Lives”).

Insomnia:

A grand intro to Faithless’ classic song before the original stands alone. The strings then come back in and remain throughout the bass line. I love the sustained sound coming from the brass section. The song stops suddenly.

Strings of Life/Knights of the Jaguar/Nightmare/Café del Mar:

The 17th track is not merely a track but a medley comprising four songs. “Strings of Life” lasts just over a minute and a half, as does “Knights of the Jaguar”. The medley’s best part is the third track, “Nightmare”. The brass section stands out in this part of the medley. But the longest part of the medley belongs to “Café del Mar”, and it’s no surprise, as it was the trance anthem of the 1990s and played out in venues like Manumission Worldwide by Pete Tong and Judge Jules. I confess that I didn’t like the original of this track, but the orchestra may have just swayed me into liking the classic trance anthem in its latest form.

Feel the Love ft John Newman:

And so, we come to the finale, “Feel the Love”. Again, another Rudimental track has been blowing up the airwaves regularly since its release in Spring of 2012. The original vocalist (John Newman) accompanies the track with his use of the falsetto range. Now, Pete has added the original drum n bass element, but the orchestra, again, has been given centre stage leaving the drum n bass toned down. The brass section is superb. The vocals overlay during the acapella section, adding a lavish and fuller tone to John’s vocals—a great way to end the album. Pete indeed went for that encore moment for the finale leaving the listener on a high.

Overall Review:

He might have cockney rhyming slang named after him, but it’s all gone, Pete Tong, it ain’t. Pete first did this as an experimental tour, which was a success. The album appeared to have zero risk involved, and the concept for me was always going to work in the studio and the classical music venues. This album fully deserves its position at the acme of the album chart. The legacy of Pete Tong lives on and remains intact. I dare anyone to challenge the outstanding reviews this album has had. The skits, I feel, are not necessary, and some of the tracks are too short, but otherwise, a great way to split the album up from the upbeat in the first half, then the more chilled-out second half before ending on a track fit for an encore for any live performance. 9/10

 

Week Three: the XX- I See You

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Well, I couldn’t write a review during week two because Little Mix’s “Glory Days” was still strong at the album charts’ peak. There was a change, however, in week three, and here is my review of the XX’s “I See You”:

Dangerous:

The introduction is a message to let listeners know that the band is back with a bang (fanfare can be heard). The first thing I noticed about the opening track to “I See You” is that it has a UK Garage feel. There is even a break in it that includes the classic UK Garage sub-low bass that So Solid Crew used quite a bit, among others. The fanfare also makes a return during the chorus and the break.

Say Something Loving:

The pulse at the beginning will fool the listener because it fooled Me. The CD stopped working and was stuck rather than this being the intro to the song in what is the second single off the album. This song has a very laid-back melody, and Ollie’s vocals have remained strong. The song also has the classic signature feel, which has been present since the self-titled debut album.

Lips:

Singing that can be heard in the intro sounds choral (is that the word I am looking for to describe a Church choir?) The African continent certainly inspired the drumming used in the track. Also, there is a handclap that is deployed during the verses. The track ends before you get into it.

A Violent Noise: 

I found this track to be very chilled out. During the verse, you can hear a quiet, steady drum beat that compliments the song well. Despite the track’s name, the song is anything but ferocious.

Performance: 

The light plucking of the electric guitar and the soft bass compliment Romy Madley Croft’s voice superbly. The passion and the emotion is also perfectly executed for the song. Again, as I found on most of the album, it has a very light, delicate and artistic touch included in the song. Violins can be heard towards the end and at the outro.

Replica:

Now, we are at the business end of the album (which, despite remaining chilled out, I have enjoyed listening to). The break with the pulsing keyboard seems like a build-up, but when the song kicks in during the break, there is still only a steady guitar riff and the keyboard is accompanied by a piano before there are more vocals and the track ends.

Broken For You:

The guitar solo before the mini-break is very subtle and calm. I listened to the crash of a gentle wave during this song; it is that relaxed.

On Hold:

This track was the teaser late last year for the forthcoming album and was released as the first single off the album. I enjoyed the riff of the electric and the bass guitar. The repetitive lyrics of the chorus always meant that this track was destined to be released as a single. During the intro and after the chorus, a sampled quote is repeated.

I Dare You:

Again, the XX have stuck to their guns and carried on the theme that has so far featured on the album (steady, calm and very chilled out, albeit the opening track). In the chorus, that classic hook is evident, and I couldn’t help but feel that the harmony used was inspired by Kings of Leon’s “Use Somebody”. Once again, the track is short and sweet, which also points towards a radio-friendly single.

Test Me:

The album’s conclusion has a very oceanic vibe as if you are deep-sea diving and exploring the wonders of the belly of the ocean and what it has to offer.

Overall Review:

I have been a fan of the XX since hearing “Islands”, and I thought the review would be quite elementary, but I must confess that I struggled somewhat as the album after the opening track doesn’t seem to deviate much. It is a good thing because, on the whole, it is yet again another good album by the band and fully deserving of its number-one placing, but it didn’t challenge me to write a longer review on each track. They say the XX is classed as Indie/Alternative, but I would say that “I See You” (albeit track one) sits comfortably in the chill-out genre. The vocals supplied by Ollie and Romy are again exemplary, and I can see the band continuing despite Jamie XX recently working on his solo material and DJing. I sensed that I was stranded on a desert island listening to the sound of the waves gently crashing onto the island’s shore, or I was exploring the wonders of the ocean whilst deep-sea diving. The album was short and sweet, with the play time lasting just 40 minutes. It also has plenty of radio-friendly tracks that can be used as future singles, for example, “I Dare You” and “Lips”. If you’re a fan of the XX, you will like this album regardless, but if you are not, you might feel that the album should have more go in it. 7/10

Week One: Little Mix- Glory Days

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You Gotta Not: 

Hello, and welcome to my weekly track-by-track review of the No. 1 albums throughout 2017. Please comment and give me feedback on what you think of my weekly reviews. I will share my honest opinions no matter how harsh they might be, so I am warning you. I hope you enjoy my weekly reviews and wish you all the best in 2017.

Little Mix-Glory Days

Shout Out to My Ex: 

This song celebrates the mistakes you’ve learned from a previous relationship, how you’re defiant with your attitude, and how your ex-partner won’t break you. The Song is laced with irony.

Touch: 

The music reminds me of the latest material by the Danish artist Mø. The song has a very catchy chorus, which is always the best ingredient for a song to become a hit.

F.U.: 

Well, there are no prizes for deciphering the meaning of what “F.U.” stands for. I’m not a fan of this kind of mainstream music, but this song has a rather blues-induced vibe. The lyrics are about hating someone you can’t seem to kick(no matter how hard you try), yet you have managed to be dragged back into falling for them with, as the song mentions, “sweet talk”. It also sounds like it was influenced by songs such as “Unchained Melody” or “Earth Angel” when You hear the sound the lyrics are immersed in.

Oops ft Charlie Puth: 

A nice animated piano riff and melodic whistling introduce the song. The Saxophone also adds nicely to the sound. It is a very upbeat track and falls into what I would define as “classic pop”.

The song sounds like the Calypso genre inspired it. The Saxophone makes an appearance and also Trumpets during the chorus. There is also that classic hook employed (in this case, “na na na”), which I can guarantee will get stuck into your head like most hooks do.

Down & Dirty: 

The song starts with a dance theme before surprising you by going into dubstep and throwing you straight into dance. It sounds familiar to the music associated with lil Wayne’s “Lollipop”.

Power:

The sound of a motorbike can be heard in the introduction leading to excellent, rich vocals in the verse. The chorus falls into the dance genre. The second verse could be better vocally. It sounds more like soft rapping and doesn’t tie into the track’s title; the delivery used wasn’t potent. One of the vocalists chants “motorbike”, which then progresses to a build-up that leads into an instrumental break before the chorus kicks in. The song ends with the motorbike chant again, progressing to a build-up, and then suddenly stops.

Your Love:

I can again hear that the Caribbean has inspired the music. The introduction and verses are relatively mellow, with a steady soft piano riff. The chorus again has that classic pop hook to get the listener’s attention.

Nobody Like You:

A very emotional piano accompanies the vocals in this track. This is undoubtedly the deeper side of the band on the album. It is indeed a departure from the usual music that Little Mix is more infamous for. This is certainly a track worth listening to if you are a deep thinker. I would say that “Nobody Like You” is more aimed at the adult market, and I am sure it will feature during the slow dance moments at parties, et cetera (maybe even as the first dance of the newly married bride and groom).

No More Sad Songs:

This track is a metaphor for life about not letting yourself get down by whatever dire situation you are in but to soldier on through and enjoy being in the moment. As mentioned in the chorus, “I beg you please don’t play no more sad songs”. The chorus lyrics also talk about being wrapped up in the music, and everyone knows that music is an excellent way of healing yourself after any emotional ordeal. Again, this is not a track I associate with the band when I have heard the mainstream charts—another deep number I thoroughly enjoyed.

Private Show:

This sounds like the kind of rnb I listened to in the early 1990s and also featured a saxophone that sounds familiar to the one used in Jennifer Lopez’s “Play”. It is quite an upbeat, cheeky track, and just like a private show, it is too short(the shortest track on the entire album). I would metaphorically describe it as a short but enjoyable lap dance(the lap dance in this scenario being your ears).

Nothing Else Matters:

I remember Metallica had a song with the same title back in the early 1990s, but is this one anything like that classic track? Sonically no. Of course, Metallica is more Rock and Little Mix is more traditional pop. Emotionally? In some ways, it is. The delivery is less emotional than James Hetfield’s, but there are elements lyrically of the emotion that James delivered on that 1990s track. This is a great way to close the album, and since “Nobody Like You”, the album gradually sobers up the listener. The lyrics in the track also touch on the fact that when you’re in a relationship, you’re the only ones who should care what you both think rather than letting others interfere.

Overall Review:

I have to be brutally honest and say that I wasn’t looking forward to reviewing this album due to the fact I can’t stand most of the material that has featured in the singles charts as far back as 2007 and that I thought I would have jumped off a building not very far into this album, but I have surprised myself. I found the album enjoyable and worthy of its current placement in the official UK album charts. The stand out tracks for me were “Power” because I loved the vocal delivery in the first verse, “Your Love”, due to the soft piano riff, “Nobody Like You” shows the band have a very emotional and deep side to their arsenal, “No More Sad Songs” for its metaphorically delivered message, “Private Show” because, it takes me back to my infancy and “Nothing Else Matters” because all of we should heed the message it delivers. 8/10