Stereophonics

Week 18: Stereophonics- Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait

~ honestopinions19 ~ Leave a comment

I, like many, have been looking forward to the return of Stereophonics after frontman and chief songwriter Kelly Jone explored a different creative avenue with Far from Saints. The burning question was, which direction would the band explore? Well, their new album, “Make Em Laugh, Make Em Cry, Make Em Wait” was recorded in the legendary halls of Stylus, RAK, and Metropolis studios in London, promising something original as they returned to recording together.


It was surprising that they returned with a record consisting of eight tracks, which is quite short for a long play, and therefore, it created a little apprehension. Would these eight tracks feature the explosive energy we have become accustomed to from the Welsh rockers? (I say Welsh Argentinians are also in the band.) To put it bluntly, the answer is a nuanced album.


While it has fleeting moments reminiscent of anthems such as ‘Bartender and the Thief’, the record takes a bold departure from Phonics’ previous styles. It leans more towards an introspective and subdued version, a shift that may intrigue and challenge listeners. It embraces the melancholic beauty of tracks like ‘Maybe Tomorrow’. This unexpected direction may not align with people’s initial expectations, but it certainly opens the door to a new, open-minded listening experience.


However, every cloud has a silver lining, which can be found in Kelly Jones’s songwriting prowess. The slower tempos and stripped-back arrangements allow his storytelling to shine. His trademark gravelly vocals, with a lifetime of experience, cut through the instrumentation, showing his more fragile side that commands your attention. Kelly is one of the great songwriters of our time, and through this album, you can appreciate his craft.


What “Make Em Laugh, Make Em Cry, Make Em Wait” lacks in raucous energy; it more than makes up for with its profound lyrical depth and emotional resonance. While some fans may have been hoping for the band’s explosive, more vintage tone and might be surprised by the subdued pace, those with a more open-minded approach will find solace in the album’s introspective sound. This record may not be filled with the stadium-rocking anthems we were all expecting, but it’s a testament to Kelly’s enduring talent and the band’s emotional journey. After a few listens, the record grows on you, offering a glimpse into the heart and mind of one of the top Welsh songwriters.


Song recommendations: ‘Colours of October’, ‘Backroom Boys’, ‘Mary is a Singer’

7/10

Week 10: Stereophonics- Oochya!

~ honestopinions19 ~ Leave a comment
I have been a fan of the Phonics since their first appearance on CD: UK(Countdown United Kingdom) in 1998 (I think.)Performing ‘the Bartender and the Thief’. The first thing that struck me was the guitar of the frontman and chief songwriter, Kelly Jones. A red Gibson SG. The only other person around the latter end of this Indie mad era I can recall using one was Paul Weller. That was the only reason I watched the performance on that early Saturday afternoon in the first place. At that time, plenty were in circulation due to Oasis making it ‘cool’ again. However, Kelly’s raspy vocals stood out; I found them different from the bands around then. Most of the newer bands tried to be Oasis, but the Phonics with Kelly’s vocals were pathing their own way to notoriety. 




Amazingly, they have amassed twelve albums from their debut, “Performances and Cocktails”. Their debut produced hits such as ‘Just Looking’., ‘Hurry up and Wait’, ‘the Bartender and the Thief’, ‘Pick a Part that’s New'(My favourite.), and ‘I Wouldn’t Believe Your Radio’. Anyway, that’s off track. Let’s talk about their current record, “Oochya!”. The cover is the first thing that caught my attention, and it resembles Green Day’s 1994 album “Dookie”. The opener is ‘Hanging on Your Hinges’, which sounds like it was recorded live in the studio. What do I mean by this? Well, bands like the Phonics back in the 90s and years before used to record a performance rather than the method used today of stopping and starting to edit out mistakes. Everything was recorded in analogue back then, which would be a pain in the arse to edit because you would have to cut segments of the tape. This is why bands and musicians from the analogue decades are masters. They mastered the ability to record performances with minimal mistakes. Indeed, it made them sharper and tighter when performing on tour. 


Apart from that, I noticed that the band didn’t resemble their usual sound. Almost immediately, I noticed a rather LCD Soundsystem song. I enjoyed it, but it left me intrigued about where the album would go next. I was expecting a grand Phonics-esque entrance.




However, over the remaining 14 tracks, the record trends common ground. So far, it is one of the longest albums I have heard this year, clocking in at 64 minutes and 12 seconds. The band are back to what you heard on “Performances and Cocktails”. Some have said it is a bit long, but I enjoyed that the Phonics returned to their electric guitar-laden roots. The records of late have been full of ballads and have been on a more reflective side. Although most of Kelly’s songs are quite cynical, the bombastic instrumentation gives it an upbeat feeling. 


Kelly’s good friend Noel Gallagher is also a master of pulling that off. Something they both would have learned from Johnny Marr.




Of course, the album has some slower-paced tracks like ‘Right Place Right Time’ and ‘When You See it’. The latter is better for its resemblance to ‘Have a Nice Day’ with Kelly’s raspy vocals, the carefree yet melodic strumming of the acoustic guitar, and the steady drums to give the song flesh around the bones. 




Like every band trying to capture past glories, “Oochya!” doesn’t quite get there. We associate Kelly’s vocals with raspy and rough, but on this, he does change tact, like on ‘Running Round My Brain’, where he changes up to Blues. It almost sounds like a song associated with the likes of Cody Johnson (A country star for those unfamiliar.)After all, it is challenging to find that winning formula you started with.




Again, even though recorded live, ‘Don’t Know What Ya Got’ stays on that Country path, remaining chilled out and with a Stereophonics originality, which lies solely with Kelly’s vocals. 


The band probably sounded like any band then, but Kelly’s vocals stood out. 




Apart from that LCD Soundsystem moment, the band are trying to re-capture what they had on their debut rather than moving forward. Now, this is good and bad because the good is there are no shit songs or songs that much out of place, and the bad. After all, they have yet to try to flirt with new concepts. I love the Phonics, so this is fine with me. I know they have experimented before, so as the Embrace song title says, “Come Back to What You Know”. 




Song recommendations: ‘Close Enough to Drive Home’, ‘When You See it’, ‘Hanging on Your Hinges’




7/10