2Pac

Week 48: Kendrick Lamar- GNX

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I have been a fan of Kendrick’s since I first heard him back in 2019. His flow and lyricism impressed me. He also seldom uses autotune, which is always a good thing. He doesn’t chat a lot of shit that most of the modern rappers talk about. You can see why 2pac is his idol. Like his idol, he also talks less about materialistic things and focuses on political and everyday matters. Fuck what you might have heard from stuck-up journalists snarling at this album because it is brilliant. Of course, there is a trio of tracks that utilise autotune, but the rest of the record is great apart from that.

What I also like about Kendrick’s albums is they are the same as his idol. Creative and original from their predecessors. Lamar includes old-school soul, old-school RnB, violins, Spanish guitars, trap drums and flirts with rhythms. There is also the sample of 2pac’s ‘Made Ni**az ’. It’s a personal favourite of my 2pac songs. 2pac’s influence on Kendrick’s music is undeniable, and this is evident in his sampling of ‘Made Ni *az ‘. However, my only complaint with sampling it for ‘Reincarnated’ is that he seems to be emulating Pac’s style rather than expressing originality. I can still tell it’s Kendrick because of the flow, but he seems to be trying to deliver the same as Pac did on ‘Made Ni*az’. The video is also the same. I am unsure if Kendrick is in it because the one I saw was the original with Pac, or as he was known on that track, Makaveli Tha Don.

As you’re aware, Kendrick has recently experimented with a pop element in his music, a move that added a unique twist to his Drake diss track, ‘Not Like Us’. It’s a bit disheartening that this wasn’t part of the album, as I was quite taken with how he dismantled Drake with undeniable truths. However, a similar vibe can be found in ‘tv off’, a track featuring lefty gunplay. While it may not be a diss track, the production bears a striking resemblance. ‘Not Like Us’ was brought to life by Mustard, and Kendrick has once again enlisted his services for this particular track, which is a real bop.

Aside from ‘Reincarnated’, my favourite track for obvious reasons, my other favourite is the captivating ‘Heart pt. 6’. It’s one of those tracks that hooks you in with its production within seconds, and then enthralls you with its lyricism and delivery within a minute. His delivery, in particular, has a unique blend that reminds me of the Ying-Yang Twins with a hint of Q-Tip. But let’s not get too distracted. This is a track that you’ll find yourself drawn to, wanting to hear it again and again.

Another reason to admire ‘heart pt.6’ is Kendrick Lamar’s unwavering respect for 2pac. He once again outshines Drake with his lyricism and undeniable facts. It’s about time that the truth about Drake was revealed. It’s reassuring to see a 2pac fan like Kendrick Lamar stepping up. Drake’s recent insult to Pac , by using his rapping on one of his many subpar tracks , didn’t sit well with Kendrick. He made sure to let the fake rapper know exactly how Pac fans felt about it.

My final favourite is also the final track featuring SZA, ‘Gloria’. This is Kendrick’s version of Makaveli Tha Don’s ‘Me and My Girlfriend’, except that ‘Gloria’ is a girl rather than a gun. It also mirrors the middle, similar to ‘My and My Girlfriend’.

Although you can hear that Kendrick is heavily inspired by 2pac/Makaveli Tha Don, the entire album is a nod to the West Coast Rap scene and its legends—another reason to like the record. While the bitter cold starts to set in, this album is a ray of sunshine with uptempo production to lift your spirits. The lyricism is also on point; you can see why he is highly regarded. I look forward to the follow-up.

Song recommendations: ‘Reincarnated’, ‘heart pt.6’, ‘Gloria’

9/10

Week 37: Robbie Williams- XXV

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 have no idea where I first heard Robbie Williams. Take That appeared out of nowhere in the 90s and became extremely popular without a steady rise. I don’t mind some of Robbie’s work since he decided to go solo in 1997, which started with the indie-inspired ‘Old Before I Die’. I love that song, but Robbie isn’t too keen on it when you read his 2016 autobiography “Reveal”. He appears to hate it with a passion. I used to love hearing it on the radio, on television or on the jukebox at the local Riley’s snooker club. It epitomised the whole indie revival movement during that period. I am surprised by his submission because after being discarded by the Gallagher brothers, he said in his book, it didn’t deter him from liking Oasis, and he enjoys a lot of indie music. I don’t fucking care if some of you are smirking at me reading his book, it was an intriguing read, and you get to know the honest Robbie and not the one slaughtered by the media. So, my initial plan was to listen to the new tracks on “XXV”, but he had other ideas. Yes, it is his greatest hits, but not in their original guise. The songs have been reimagined with Jules Buckley conducting an orchestra, and there is even a Beethoven version of ‘Angels’. That’s the introduction over; now to the review. I have elected to analyse each classic and new song track-by-track.

Let’s begin:

Let Me Entertain You:

No one can forget this beast of an anthem with its rock attitude. When this was recorded, the La’s and Lightning Seeds drummer Chris Sharrock was drumming for Robbie. Of course, Chris would go on to join Robbie’s friends Oasis, Beady Eye, and his least favourite Gallagher brother Noel Gallagher’s High Flying Birds. The song carries on in the same vein, but the horns and choir bring that celestial finish to it. Already I am impressed.

Come Undone:

A friend had this on a Now That’s What I Call Music compilation in 2003, and I was reading the footnotes. Tupac Shakur inspires this song. I was shocked to hear this because I don’t hear any references to Pac in the song. On a side note, Robbie and Pac met in 1995 at the Versace birthday party. They both shared a joint, and they got on almost immediately. Pac didn’t know about Robbie’s portrayal by the media and didn’t seem to care either. They shot the shit about life and, for a brief moment, became friends. Has the song improved much since the original? Only slightly. Not much to write about.

Love my Life:

In the book, Robbie said he wrote this for Theodora(his daughter.) to tell her never to forget to love your life despite what others might say about you. Again, the orchestra lift this song to another level; to be honest; it is fit for the West End when they do a musical on Robbie.

Millenium:

There was no point in tweaking this track. It doesn’t enhance it, as the original already has a stringed section. I believe it was pilfered from a James Bond theme song. He was better off not bothering to rework this one.

the Road to Mandalay:

Again, a pointless rework. The original is better.

Tripping:

For the third time in succession, the track didn’t need necessary work. I am sure this one catches your attention by starting off with a reggae vibe before returning to the familiarity. You feel cheated when the reggae falls away after the introduction. I’d have preferred a reggae vibe on the rework, in all honesty. I cannot recall a single track where Robbie has done reggae.

Bodies:

I’ve never been a fan of it, and the rework didn’t do much for me.

Candy:

Jesus. This song made me cringe when it came out, and still makes me cringe now. Robbie is better than bubblegum pop.

Supreme:

Again, I believe another song pilfered from a James Bond film. I didn’t feel a rework was necessary. I mean, what could Jules have possibly done to improve it? The original has an orchestra. There are, however, female backing vocals. Still didn’t do much to improve, though.

Strong:

Again, Robbie puts on his indie head in the original, and to be honest, there is not much difference between the XXV version and the original. It’s a photo finish which is better. 

Eternity:

Just like ‘Strong’, there isn’t much difference in both versions.

No Regrets:

My favourite track off “I’ve Been Expecting You”, and it has to be the original that will remain my favourite. He tries to make this more upbeat when the original is melancholic, which fits with the concept.

She’s the One:

I love this cover of World Party’s track, even though the original is much better. It was a nice nod to World Party, but Karl Wallinger has said on many occasions he now hates performing the song and that Robbie ruined it for him. In the book, Robbie mentions how through a third party, Karl said, “When you see him, tell him he’s a cunt”. If Karl hated the original cover, he isn’t going to be too fond of the XXV version, either. However, I believe the majority will agree with him this time.

Feel:

I was not too fond of it then, didn’t like it when Peter Schmeichel played on it live, and I still don’t like it now.

Rock DJ:

When this came out in the summer of 2000, I liked it. Then, it was played to death, so I stopped listening to it, and as I got older, I could not stand it. Even listening to the rework was too much.

Kids:

I loved this when it came out in the autumn of 2000, with its rock attitude and the collaboration with Kylie Minogue. Kylie features in the rework. Again, a photo finish of which one is best.

Angels:

The original pisses all over this. Do look out for a surprise later on, though.

Lost:

Now, we have come to a brand new track. It was made for this album. Yes, I know it was actually made for this record, but what I mean is it’s a perfect fit. The orchestra musicians compliment each other.

Nobody Someday:

An acoustic guitar accompanies Robbie’s vocals, accompanied by a soft choir. A vast improvement on the original.

Lazy Days:

The original itself was lazy instrumentally and vocally. The rework brings it to life—the orchestra playing a pivotal role.

Hot Fudge:

I never liked it and still don’t.

Sexed up:

Again, I wouldn’t say I liked the original, and my concentration wavered on this one.

More than This:

Another brand new song. Once again, it is a perfect fit, just like ‘Lost’.

Disco Symphony:

Another new track that does exactly what it says. I can see this one being played at parties and wedding receptions imminently. Very uptempo and very disco.

Better Man:

You’re better off listening to the original.

Home Thoughts from Abroad:

The Magic FM moment on the album. Although to be fair, the majority of the record will fit nicely on their playlists.

the World and Her Mother:

The final new track has the Robbie signature written all over it.

Into the Silence:

Again, another photo finish.

Angels (Beethoven AI):

This song is merged with Beethoven’s ‘Unfinished 10th Symphony’, and fuck me; it fits in perfectly. I never thought I would see the day when ‘Angels’ collaborates with ‘Unfinished 10th Symphony’. I was blown away when I heard it, and it fucking destroys the original. That was a very clever move by Robbie. This version is beyond space; it’s that good.

Song recommendations: ‘Angels(Beethoven AI)’, ‘Nobody Someday’, ‘Disco Symphony’

7/10

Why such an average rating, you ask? Well, because I prefer the originals.

Week 31: Beyonce- Renaissance

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Remember how good RnB was in the 90s when you had Mary Mary, TLC, En Vogue and Destiny’s Child? Beyonce was in the latter before deciding to go solo in the mid to late 2000s. This is a shame because Destiny’s Child was a fantastic RnB group. However, since going solo, she has spawned hits such as ‘Crazy in Love’, ‘Irreplaceable’, ‘Run the World(Girls)’, ‘Blow’, ‘Single Ladies’, ‘Halo’, and what I find an insult to Tupac ‘Me and My Girlfriend(Bonnie and Clyde 96)’ with her husband Jay Z who once felt the wrath of Pac on ‘Bomb First’. 

So, I was astonished when I heard the album because I was expecting the same old shit that she usually churns out, but this was to my liking.

 Incredibly, I liked ‘Cozy’ and ‘Alien Superstar’ songs for their club beats and blunt lyrics. Beware, there are plenty of expletives on this record. I will let this review flow if I am honest. It won’t be that great or long, either. ‘Cuff it’ is out of the funk genre, and ‘Break My Soul’ reminds me of dance music I heard in the 90s. ‘Church Girl’ is a bit weird. It’s RnB, but there is a hint of Drum n Bass in there at a slow tempo, ‘Plastic off the Sofa ‘ is neo-soul, and ‘Virgo’s Groove’ is something I could see Jamiroquai doing. If I did a deaf ear test before hearing it without Beyonce’s vocals, I’d easily mistaken it for them. ‘Pure/Honey’ sounds like the kind of deep house track that Disclosure produces, and ‘Summer Renaissance’ is 80s house. There are plenty of samples from songs by Donna Summer and many more. There is one where she uses an iconic house track, but I cannot remember who it is by. Funnily enough, the track in question is on my music laptop. It certainly is not an album for kids under 10 to listen to. Oh, I just remembered. The track is called ‘Miss Honey’.

Song recommendations: ‘Summer Renaissance’, ‘Virgo’s Groove’, ‘Break My Soul’

8/10

Week 43: Elton John- the Lockdown Sessions

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Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades. 

But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.

So, how was the concept of this record born? Elton wanted to do more than play family games and watch television, which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.

I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is. 

Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.

I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.

If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would have probably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist Robert Trujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’. 

Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm. 

The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.

The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am going to sum up the following shortly and sweetly:

‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.

‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song, making it spiritual.

‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t Go Breaking My Heart’ talking about their relationship through those 45 years.

‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimagining of his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.

My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.



Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’

8/10

Week 40: the Script- Tales from the Script

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I will do a track-by-track review of the Script’s first greatest hits album. I might add that I was disappointed that my favourite track, ‘the End Where I Begin’, wasn’t featured:

Breakeven:

This was their third single off the self-titled debut album and followed a specific song theme pattern. However, this track was more hard-hitting and spoke about one person from a former relationship “falling to pieces” and not wondering what to do while feeling choked up when the other seemed to be “okay” about the breakup. Danny O’Donoghue’s melancholic and heartfelt vocals deliver this song with conviction.

the Man Who Can’t be Moved:

The music video tied in brilliantly with the lyrics and the theme. Again, taken from the debut album, this track was the second single and depicts a man who will not move from the corner of the street until the woman he loves shows up and feels the same way. Indeed, the man in the song asks people to tell her where he is. This indicates a metaphor for being in a relationship. While it might be falling apart, the man will fight to show his heart is still in it. Again, Danny’s vocal delivery makes the song believable.

For the First Time:

This track would be the teaser for their second record, “Science & Faith”, released in the late summer of 2010. It stays within the songs off their debut album. Indeed, it might have been written back in 2007 when they went into the studio but wasn’t quite ready to feature on a record. The track is similar to ‘Breakeven’ again. It is aptly named because they fall back in love like it was for the first time. However, this time, there is still a relationship ongoing, albeit in a dire state, but both are willing to act like adults to make it work, which happens by the end of the track. Again, the lyrics are about fighting to save a relationship with lyrics like “Oh, these times are hard, yeah they’re making us crazy, don’t give up on me baby”.

Nothing:

The second single off, “Science & Faith”, ‘Nothing’ showcased Danny’s vocals with the ability to be a swooner and blend that with his forte of being heartbroken at the same time. The guitar riffs and the piano took you to a place where the Script had yet to achieve on their debut. 

Hall of Fame:

Taken from their 2012 and rightly named album “#3”, the band teamed up with Danny’s fellow mentor on the Voice and the Black-Eyed Peas member, Will.I.am. However, I am not a fan because, in general, I am not a fan of Will.I.am. He spoiled the latest Black-Eyed Peas album with that shitty software I can’t stand that alters your voice and makes it sound bloody awful rather than improving it. To think, Tupac was a fan of theirs back in the early 1990s. If Will weren’t on it, I would like it because, as usual, Danny’s singing and rapping are excellent.

If You Could See Me Now:

The third single from “3” is more about closure as the band discusses personal loss. Danny talks about losing his father on Valentine’s Day suddenly the previous year, and guitarist Mark Sheehan wanted the lyrics to include the loss of his mother after a long battle with a horrible illness a few months before Danny’s loss. Just listening to it, you could hear that the emotion was still raw and resonated with all of us when experiencing the feeling of losing someone close to us as well. A piano can be heard at the intro before Danny raps the opening verse. The tempo attracts your ear, and the lyrics make this a heartfelt song. The chorus is kind of catchy, albeit melancholic.

Superheroes:

The teaser for the 2014 album “No Sound without Silence”, Superheroes isn’t my bag, and I have never enjoyed the track.  It just didn’t have that get-and-go like their songs do. They just seemed too safe sonically. Lyrically? They are up there with their best.

Six Degrees of Separation:

The second single from “#3” is a masterpiece. It perfectly explains what we feel after breaking up with someone we fell deep for. Bizarrely, despite the topic, it is quite an uptempo ballad. The chorus is where Danny’s vocals spring to life as he delivers the details with raw emotion, and surprisingly, it is catchy for such a thought-provoking track.

Rain:

This would be the teaser for the record, taken from 2017’s “Freedom Child”. Again, another song of theirs I am not a fan of. I was impressed by Danny’s falsetto, but I don’t know. The track just didn’t fit at all.

Arms Open:

The second single from “Freedom Child” again is lyrically beautiful. The message is that it doesn’t matter if you are alone when dealing with something because there will always be someone to hug you through the bad times. I found the song to be a traditional song for the Script, and the stripped-back sound elevated Danny’s vocals while the listener could relax and feel at one with themselves. It is worth checking out the video where the band worked with the charity A Sense of Home, which helps children find homes who are too old to be in foster care.

the Last Time:

The teaser off their latest studio album, 2019’s “Sunsets & Full Moons”, was released in November, a few months before all this shit happened across the world. As the title suggests, it deals with one of the lovers feeling like they are seeing the other one “for the Last Time”. The band sure knows how to draw the listener in with the relevant topics and the catchy melody, and of course, Danny’s vocals make this another great track by the Script.

Run Through Walls:

It is the second single off the aforementioned album. Once again, it was a brilliant subject and lyrics by the band. Just read this from the chorus; “I’ve got friends that will run through walls, I’ve got friends that will fly once called when I’ve got nowhere left to go, and I need my heroes, I’ve got friends that will run through walls”. Have you read them? Catchy as fuck, wonderfully executed with falsetto vocals, and what a beautiful message about the real ones who have your back and who are not related to you. The first verse addresses how true friends have saved his life (Whoever that is, I am not sure of because the band share ideas, melodies, and lyrics together.), and the second verse, the death of his mother, is brought up, and how the real ones were there and helped him through it.

Before the Worst:

The final single off the self-titled debut album again shows Danny’s vocal ability. It is about a boyfriend trying to return to the point of the relationship where everything was right and they were happy. The lyrics are typical heart-wrenching verses and choruses by the band. I also felt it sounded (in the chorus at least.) melodically like Kate Bush’s ‘Running up that Hill(A Deal with God)’. Yes really. Pay close attention to Danny’s delivery next time.

We Cry:

The teaser off their debut album, and as you have already worked out, the single that started it all. It caught your ears back in 2007 because there was no band coming out of Ireland who mixed guitar music with rapping (Sorry if I have made a mistake there. I think the rapper Redzer might have done that. I am not sure at the time of writing.), and that was refreshing to hear. Now, at the time, I listened to this song unconsciously, and my interest came in when ‘the End Where I Begin’ was featured on a FIFA console game soundtrack. The track has many different characters talking about their struggles, from a teenage single mother to a drug addict, et cetera. Danny described the melancholic song as people who are all experiencing hardships coming to cry together and, therefore, sharing the burden. 

Science & Faith:

The title track off the 2011 album would be their last single. The song is up there as a fan favourite because it is a wonderfully composed love song. The lyrics are always the standout and why the band is well respected. It talks about finding “the one” and how, even though there are bumps along the way, you are destined to stay together until the end, which is quite a surprise from most tracks by the Script. I heard this song is written from Mark Sheehan’s point of view. Considering the song’s name, it all makes sense and falls into place. 

No Good in Goodbye:

The second single from the 2014 album “No Sound without Silence” made my ears prick up. I love the wordplay used in the chorus and the metaphors in the verses. Again, the band touches on heartbreak and how to overcome it. The chorus was melodically similar to Duran Duran’s ‘Ordinary World’.

Never Seen Anything “Quite Like You”:

A surprise on “Tales from the Script”. This is the first and only track not to be released as a single. It is taken from the 2014 record “No Sound without Silence”. Many may disagree with me, but I heard elements of Ben Folds Five and fellow Irish band the Corrs. I could imagine Sharon Corr playing the fiddle and Ben on the piano. This love ballad is upbeat, and you can imagine this being played on St Paddy’s Day with everyone clad in green, stamping their foot, and clapping in time with the beat. Even the Script can write upbeat songs once in a while.

I Want it All:

It’s the exclusive teaser for this very album. The song contains all the elements associated with the band, and as usual, the lyrics stand out and pull away at your heartstrings. The music is sad yet subtle and goes along slowly, which is appropriate for an album closer. Danny’s vocals are once again on point even after two years out, and of course, the current climate prevents the band from touring all of last year and some of this year. His voice hasn’t waned during that period, nor have the band gotten rusty or lost their edge. Expect this one to feature in their live shows coming up shortly.

Song recommendations: ‘No Good in Goodbye’, ‘Never Seen Anything “Quite Like You”‘, ‘Run Through Walls’

9/10

Week 36: Kanye West- Donda

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In 2004, I bought an RnB compilation album called “Ice”, which also happened to have an artist I was yet to discover called Kanye West, and songs called ‘All Falls Down’ and ‘Jesus Walks’ complete with about three remixes of those said tracks. Back then, I liked his music and was interested in discovering more. Many feel it is offensive to rip off ‘Harder, Better, Faster, Stronger’ by Daft Punk off their iconic “Discovery” album. I didn’t mind Kanye’s sampling of it for his track ‘Stronger’, and I also enjoyed the track featured as the title track for the Saint’s Row the Third console game. The latter was in 2008; that was the last time I was interested in listening to his songs. 

In the previous decade, Hyde Park was beyond embarrassing. His music has been nothing short of cringeworthy since then. His woe-is-me act while wearing a diamond-studded Prada (I think) mask at the British Summer Time Festival was disgraceful. Yes, he came from a low-income family, but you don’t rant about that wearing such a mask. His hijacking of Beck’s award at the Grammys was also a joke. He wanted to protest about Taylor Swift winning an honour and stole what should have been an excellent moment for Beck Hansen. Luckily for him, Beck, although visibly stunned, found it funny and praised Kanye for his work.

So…”Donda” is an album everyone has been raving about and comparing it to Drake’s “CLB” (I forget what it stands for right at this moment.). I wouldn’t say I like Drake’s rapping anyway. He wants to use autotune; that winds me up big time. Now, “Donda” lasts for almost two hours over twenty-seven tracks. I was willing to listen, but there were only three tracks worth listening to. The rest is just autotuned bullshit. It’s a shame because he does have some pretty hard-hitting stories to tell, but all ruined by that shitty software, ‘Donda Chant’ is just not worth putting on a record. It lasted 52 seconds, with a female repeatedly saying “Donda”. The three tracks I did like were ‘Jail’, which is rock-inspired, ‘Heaven and Hell’ and ‘Keep My Spirit Alive’, which took me back to something that 2pac and Tha Outlawz Immortalz might have done during their peak in the 1990s. Apart from that, an album shrouded in hyperbole. Utter shit.

Song recommendations: ‘Keep My Spirit Alive’, ‘Heaven and Hell’, ‘Jail’

3/10

Week 22: Olivia Rodrigo- SOUR

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Olivia Rodrigo caused a storm recently when one of her songs went to number one and outsold anything Oasis had released when they were at the peak of their powers. I was late to the party, but I could see that diehard Oasis fans were not happy about this and openly mocked the singer with “Who the fuck is she?”. They were my thoughts exactly, and I wondered whether she would be around as long as Oasis or remembered like them. I didn’t particularly like the track, and streaming probably generates more than physical sales these days. I mean, I will not buy a physical copy of an album unless I believe in the artist/band or have been following them for several years. I wasn’t particularly enamoured with her displacing the Modfather at the summit of the album chart. Still, as I review all the number one albums throughout the year, I was obligated to listen. I was impressed by the end, much to my surprise.

I believe the song that caused quite a stir and pissed off Oasis fans was called ‘Drivers License’. That song aside, “SOUR” is a full-on album with plenty of aggression and passion. Olivia talks about what it is like to be 17, broken-hearted, pissed off with society, and full of teenage angst. It’s not all that surprising when you discover that her idol happens to be none other than Taylor Swift. She even wishes her ex well on ‘Happier’ but also points out that she doesn’t want him to be happier with her successor. I would compare her angst and raw emotion with Alanis Morrissette’s “Jagged Little Pill” era. There are songs on the record akin to songs like “You Oughta Know” or “One Hand in My Pocket”.

Olivia doesn’t hold back and goes after an ex on ‘Traitor’ because he got over her far too quickly. Olivia felt that his love for her was fake, and he didn’t care that much to move on so rapidly. My favourite two tracks have to be ‘Brutal’ and ‘Good 4 U’. To quote Liam Gallagher, these tracks are “Rock out with your chin out”. The sheer driven tempo and heavy guitars and drums add to Oliva’s delivery’s raw emotion and anger. I must confess, I was expecting a generic Disney pop record, but this album is energised and full of attitude. Those two tracks alone are a testament to that. There is also plenty of colourful language.

From opening with the attitude of ‘Brutal,’ the album closes with a much calmer ‘Hope Ur OK’ and a heartfelt song showing another side of her. She isn’t all about angst, anger, and brutal honesty. Listening to the record shows that Olivia wants to be taken seriously as a songwriter. I mean, she even got involved in co-producing “SOUR”. I have no idea where she came from, but if she were part of the Disney Kids Club, she would want to distance herself from that now. What you hear on the album is just fucking amazing. There’s stuff on there that would make many songwriters hear with envy, knowing they didn’t have that much ability so young. She’s old and wise before her time, which reminds me of the great Tupac Shakur when he was a teenager. Intelligent and eyes open wide to the world. 

Olivia has a long future as an artist and a songwriter. However, it’ll be difficult to follow “SOUR” after this incredible debut effort where she combines every emotion under the sun. A marvellous and solid debut.

Song recommendations: ‘Brutal’, ‘Good 4 U’, ‘Hope Ur OK’

8/10

Week 18: Tom Jones- Surrounded by Time

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If you don’t know who Tom Jones is, I have yet to find out where you have been. The man is an absolute legend in the industry, and although that term gets saturated and loses its meaning, it is entirely true when it comes to the Welsh king of Pontypridd.

I not long ago finished his book this year, which I highly recommend for the fascinating insight you get on his life and how he went from a rat-infested apartment he was sharing with his original band in London to his very own mansion in Surrey after that hit, which wasn’t written for him was then put in his hands to bring to life. Tom went to Las Vegas and befriended the late Elvis Presley when he sold out days and nights doing the club and hotel circuit. However, with that came the barren years where Tom wouldn’t release new material and the rumour across the pond that he was dead due to lack of activity. It was when his manager Gordon Mills passed away, and his son Mark took over and revived his career. Mark had rescued his career from obscurity by scoring chart hits and working with several new artists. He performed on Jonathan Ross’s Channel 4 show, the Last Resort, in the 80s, which regenerated interest back home, and from there, he hasn’t looked back as his career has got even stronger than when he first came into the limelight.

He was even signed to the same label as Tupac Shakur in the mid-90s. How is that for a story? Tom regularly saw the Death Row entourage while he frequented Interscope. Unfortunately, it didn’t work out at Interscope. Still, Tom’s resurgence had begun, and from there, he went on to secure the legendary status his career was in danger of once coming close to losing altogether.

Now, let’s get to “Surrounded by Time”, an album full of covers and a few surprises. Staggeringly, this is Tom’s 40th studio album; when you consider the majority of the 1970s and 80s, he needed fresh material. It is different from your usual record of typical covers. Tom has even dared to show another side to his vocals by adopting spoken word, which I highly admired, and it made me see him in another light I haven’t witnessed since I first heard him many years ago (I honestly cannot remember where and when).

The songs on the record range from Todd Snider’s ‘Talking Reality Television Blues’, Malvina Reynold’s ‘No Hole in My Head’, and Bob Dylan’s ‘One More Cup of Coffee’. Rather than simply being a covers album, it reflects Tom’s life and getting around to the songs he wouldn’t attempt to do at a younger age. For instance, ‘I’m Growing Old’. When asked about performing it, he told Jools Holland he couldn’t have done it at 30 because the song wouldn’t have had meaning, so he planned to wait until his 70s to cover the song, albeit he didn’t until he hit 80. Tom said he was still determining if he would grow old with his lifestyle. But now, when he performs it, you can hear what he was driving at 30. The song is delivered more from the perspective of Tom being old.

‘Pop Star’, which is a Cat Stevens cover, has an electronic 80s vibe to it, ‘No Hole in My Head’ is a bouncy psychedelic rock number, ‘Talking Reality Television Blues’ (Which is my highlight) is brilliantly delivered by Tom through the medium of spoken word with a rock ambience. ‘I Won’t Lie’ is a beautiful acoustic folk song with strings and synths enveloping it, ‘Ol Mother Earth’ is another spoken word track over an ambient piano, and then ‘Lazarus Man’ to close out the record is a spoken word track with like a hybrid of 80s electronica (You know, Orchestral Manoeuvres in the Dark-type stuff) with a psychedelic guitar of which you could imagine the late Jimi Hendrix closing his eyes and getting lost as his fingers work their magic on the fretboard and strings, like the Who meets Led Zeppelin.

I could have made this review an entire book on Tom’s life, but I would have been here probably this day next year before completion. Going back to ‘I’m Growing Old’, it, funnily enough, was released the year of his birth and makes it even more poignant to have it on his latest album. It is also an acknowledgement by Tom that he is nearing his mortality. Still, instead of letting that reality suffocate him, he is ready to enjoy his remaining years with dignity. Who knows, he might surprise us all and live past 100. Until then, he will continue living his life, enjoying his career his family, and drinking anyone under the table who dares to challenge him.

Song recommendations: ‘Talking Reality Television Blues’, Lazarus Man’, ‘No Hole in My Head’

8/10

Week Thirty-Six: Nines- Crabs in a Bucket

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I have to admit that I don’t know much about him apart from an incident in Harlesden last year when someone mentioned it in conversation and asked if I knew of him or his music. Anyway, I highly recommend listening to his album because there are some fascinating and gritty stories about his life with some tremendous wordplay chucked in. The album suggests that he is a rapper rather than an MC, of which I wonder if he has ever been the latter in the sense of grime, drill, or garage.

Nines captures your attention from the first track with his best introduction to date out of his previous two albums plus mixtapes. The track features a piano accompanying a horrific story about his father’s cancer diagnosis, seeing his friends getting sent down for life, not having material ready to give to major labels, and declining to appear at several festivals. He also yearns for freedom from that period, and how he feels trapped despite his current success. This isn’t just any old intro; this is an intro where the artist reveals, in this case, Courtney Freckleton rather than just Nines. “Intro” just blew my mind, and I have to say that I think it is up there as one of the most revealing tracks I’ve heard from an artist.

I also discovered that Nines is no small-time player in the game within the confines of the UK hip-hop scene, and that shows with the various features on the record who are the major players. Again, the contributing artists used impressive wordplay and told stories to make your ears prick up.

Much of the album uses samples from various hip-hop classics, mainly from America. He even chucks in a few 2Pac bars from his 1995 “Me Against the World” track. I believe the track in question is called “Lights” and uses the sample of Kool & the Gang’s “Summer Madness”.

As you know, I can’t stand interludes because they are often just throwaways, but there’s something about “Stalker Interlude”. Yes, it starts with Nines receiving a phone call from some next crazy woman asking why he hasn’t answered her fifteen calls. Still, he starts talking about the trials and tribulations of being caught up with women who act this way and even says to the lady in question that she’s a gold digger, but she isn’t the only one this song is aimed at. He talks about those who only want him as a boyfriend for his status and money and how he had problems with younger women and even posh women. An interlude I will listen to again and again. 

“All Stars 2” impressed me not just for Nines but for the story Clavish delivered, where he boasts about being on a Nines album when all others had doubted he was even worthy to appear on his mixtapes, let alone one of his albums. It’s a friendly little reminder for his haters to hear for eternity.

The album ends with no surprises: “Outro”, and just like “Intro”, it is every bit as compelling with the storytelling. Here, Nines addresses that he was once one of many crabs in a bucket and is now in high-profile business meetings. It is pretty refreshing to hear that even though he is now a made man, he still keeps it 100 by still living in Harlesden, rather than leaving at the first chance like one of his friends did.

Of course, there are drawbacks to the record; I especially hate using the dreaded autotune, so I didn’t listen to seven of the tracks. Despite that, “Crabs in a Bucket” offers more than his previous two albums, as Nines remains on the same topic throughout—his life. The listener discovers more than just his alter-ego, and it is always great to hear a rapper talk about their life outside of the business and what they have experienced and are like, from their strengths to their weaknesses to their vices.

Song recommendations: “Intro”, “Lights”, “Stalker Interlude”

8/10

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