Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.
As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.
As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.
When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:
Disc One/Side A
The Rose of Laura Nyro:
What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.
Little Richard’s Bible:
A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.
Swing for the Fences:
From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.
Never too Late:
As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.
You Without Me:
It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.
Disc Two/Side B
Who Believes in Angels?
Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.
The River Man:
Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.
A Little Light:
Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.
Someone to Belong To:
The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’
When This Old World is Done with Me:
A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.
Overall:
I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.
Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’
Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.
However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.
It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.
What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.
It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.
Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.
However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.
What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.
Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.
As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.
Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.
It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song. Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.
’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.
As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.
Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’
As you may recall, their last album was a unique creation, structured as a therapy session with a psychiatrist. This innovative approach was a testament to the band’s creativity. Now, with their fifth album, the band has truly taken off from their previous record. Robbie Williams, a notable figure in the music industry, has even become a fan and will have them support him on his summer tour. The band has also collaborated with some very familiar faces on this album, and we’ll delve into those in the track-by-track review.
Let’s get into it:
Superpower:
The shortest track starts with a public service announcement and maintains that vocal style in the verses. Co-vocalist/bassist Katie Lloyd then takes the lead, showcasing her vocals in the chorus. The track also highlights her bass expertise over Thom Rylance’s conscious lyrics, which delve into the importance of self-acceptance. The song also references the acronym behind “KOKO”, a phrase used by Liam Gallagher in ‘I’m Outta Time’ for the latest Oasis record “Dig Out Yer Soul”. The phrase, “Keep On Keeping On”, might have led some of you to wonder if it was a nod to a Camden venue.
You Again ft Jon McClure:
As you can see, the second track is a collaboration between the Reverend and the Makers frontman, Jon McClure, and, yes, he is related to Vicky. I know someone who is friends with her, and I had to ask the question. Anyway, ‘You Again’ was the teaser for the album. The track itself is about someone or something from the past that never seems to fade away, so we find ourselves thinking about it frequently. As with the opener, the sobering lyrics are concealed behind a groove instrumental.
Panic Attack:
If you have never experienced a panic attack, this track goes in-depth into what happens when it happens. Thom is known for spoken word and rapping during the songs, but this one is just him singing, showing he has more to showcase. In the final chorus, Thom is joined by children who provide backing vocals. ‘Panic Attack’ eases off that groovy/funky instrumental, which is quite apt when you consider the subject matter.
UFO:
I found the video pretty funny, with this young lad making friends with a child alien. Above all, there is a tremendous duet between Thom and Katie. This time, there is no groovy/funky instrumental, but a downtempo instrumental to match the lyricism.
Ragdoll:
I could not believe who I thought was accompanying Katie. I thought it sounded like the guy from Nickelback, and sure enough, it was indeed Nickelback frontman Chad Kroeger. I never expected that in the slightest. This is not just because the popularity of Nickelback has abated over here but also because it just appeared to be an unlikely collaboration. It is quite refreshing to see an artist from across the pond collaborating with an independent band. Chad’s role in the song includes a back-and-forth romantic duet with Katie. The instrumental has a Nickelback-esque feel, making the track powerful and raw.
Struggling:
The album title is referenced throughout, so you would be pardoned for mistaking it for the title track. I am also guilty of it. When I saw the name, I thought it was a mistake and that it was indeed the title track. One of the rawest songs on the record, addressing the struggles we face in life. It has the same vibe as ‘UFO’ but remains uptempo.
Turn Around:
Their latest single has a summer and festival feel to it. This will go down well at those open-air venues they will be playing on tour with Robbie in the summer. You would have also heard this one being played to death on air at the moment.
Monaco:
Again, this follows the same vibe as the previous track. It’s apt to be titled ‘Monaco’ because you associate that principality with sunshine and glamour. Even though both tracks have hard-hitting lyrics, the disco element makes for an uplifting mood.
Three Wishes:
From the uplifting of the previous two tracks to the melancholic duet between Thom and Katie discussing Thom being rueful about someone no longer a part of his universe and how he wished he had three wishes to have them return. It appears out of place from the rest of the record, but as Spider-man says, “Everybody gets one”.
Dirt and Gold ft Frank Turner:
Another collaboration, this time with the outspoken Frank Turner, flirts with folk music, with stringed instruments over football terrace chanting backing vocals. As usual, the feel-good instrumental is laced with the order of the day: melancholic, conscious lyricism.
The Ceiling:
The final collaboration is with a band that scored two number-one albums in the past 14 months. (You can also include this one. Rick Witter certainly does.)Shed Seven. The track itself is a blend of The Lottery Winners and Shed Seven. We have thumping drums, a brass section, an infectious guitar solo for Shed Seven, and Thom’s spoken-word vocals for The Lottery Winners. The track has a typical Shed Seven swagger—one of the album’s highlights.
KOKO:
The closer is appropriately the title track. The acoustic guitar is utilised over the message conveyed throughout the listening experience.
Overall:
This exceptional record merits a summary as the band, once again, fearlessly tackles issues of mental health that many of their peers shy away from. The album is a perfect blend of melancholic, introspective lyrics and uplifting instrumentation, making it a universally appealing piece, much like their previous record. The collaborations, including the unexpected one with Chad Kroeger of Nickelback, were surprisingly successful. While I personally favour the one with Shed Seven, the one with Jon McClure is equally impressive. The band’s ability to cater to a diverse audience is evident in this album, and I am excited to see them continue to push their boundaries and become one of the Indie greats.
Song recommendations:‘The Ceiling’, ‘You Again’, ’Monaco’
One of the most admirable qualities of Sam Fender is his courage to speak up for the working class in the music industry. He fearlessly calls out the industry for not doing enough to support musicians from working-class backgrounds. His outspokenness is a testament to his advocacy and determination. I share his views, and I believe Sam is one of the most authentic and relatable musicians out there. He remains true to his roots and takes pride in them.
So far, all his albums have reached the top spot with his Springsteen-esque songs. “People Watching” makes that a hat trick. The record still has elements of “Hypersonic Missiles” and “Seventeen Going Under”; however, this time, he isn’t autobiographical but looking at other people around him and incorporating their stories into his songs. A tactic used by many a songwriter and poet. One of these includes a rather unwell friend. He also forms stories about people in the gym or those sleeping rough, making this an interesting listen. The album features a diverse range of themes, from personal struggles to societal issues, making it a compelling and thought-provoking listen. At the same time, the Geordie Bruce Springsteen delivers electric guitars with acoustic with the familiarity of the saxophone—all the ingredients of his American idol.
Although Sam may be talking about others on the album, he finds a way to express how he feels about those particular themes. Social commentary, if you will. ‘Crumbling Empire’ is the most poignant, where he attacks the state of the world, comparing it to Newcastle, where various governments have let the people down. He mentions his mum working as a midwife to drive this point home. He acknowledges, after seeing his hometown falling apart, that he may not live the life he did, but he is thankful music worked out because he knows the life he had could be a lot worse than it was before he shot to fame.
‘TV Dinner is a departure from Sam’s usual style, reminiscent of Hozier’s ‘Take Me to Church’ not in its structure, but in its sound. The song features a long verse and a short chorus, with the final chorus serving as a long outro. This structure, combined with the song’s powerful vocals and emotive lyrics, evokes the same raw energy found in Hozier’s work. As mentioned in the first paragraph about criticising the industry, this song addresses how they build artists into idols and then stand aside when their flaws come to the surface. He particularly addresses the late Amy Winehouse as an example. He isn’t afraid to say how he has been treated himself. Referring to them treating him as a cash cow, he has decided to do as he pleases from here on rather than appease the industry. Sam also discusses the controversial and complex subject of religion and whether we can abide by our religion and genuinely live life according to the ways of the church on ‘Little Bit Closer’. Now, from listening, I gather Sam is an atheist because, during the bridge, he asks, “What is God?” and goes on to say he hasn’t found God yet, although he has had moments where he has been close to seeing why people believe in God and are part of the church.
Another unusual track is ‘Remember My Name’, a piano ballad dedicated to his late grandparents. Usually, a record concludes with a bombastic track, but Sam has opted for a slower tempo. It is quite dark talking about how his grandmother had dementia and was looked after by his grandfather. His thoughtful and caring grandfather would speak to his grandmother to help her remember things. The raw emotion in Sam’s vocals adds to the story’s effect. Sam may not be speaking from personal experience, but as frequently done on this album, he puts himself in their shoes. Granted, what “People Watching” lacks sonically with the same old tried and tested method, it makes up for with the lyrical content and how Sam can observe people, listen to conversations and structure from there. He has spoken about other people in his previous records, but never to this extent. This is his Kelly Jones moment, a reference to the lead singer of Stereophonics, known for his observational storytelling.
Song recommendations: ‘Crumbling Empire’, ‘TV Dinner’, ‘Remember My Name’
The original album, released in 2023, was recently re-released as a 72-hour limited edition for Valentine’s Day, a move that propelled it to the top spot on the charts after initially entering at a humble 90 two years ago. Sonically, it may not be groundbreaking, but as a recorded extended play, the clarity is exceptional. It’s crystal clear, with no soundboard interference. What’s truly impressive is the balance between the crowd and the performance. The crowd’s energy is palpable, adding a unique dimension to the recording. It didn’t use in-ear monitor recording, which makes it stand out.
This EP has been panned in the past for lacking the energy of her usual live shows, but I absolutely love “Lover (Live from Paris)” because it is Taylor laying her soul with acoustic versions of songs familiar among the Swifties. I have always said that I admire Taylor’s acoustic performances, so even though this record is only half an hour, it was a joy to listen to it, especially ‘Death by a Thousand Cuts’, sounding like a blend of Travis and The Libertines during the verses. ‘Cornelia Street’ sounds like The Script and Train. ‘The Man’ sounds like Ed Sheeran. Of course, some of the tracks have more to them. What I mean is some substitute the guitar for a piano, and some go electronic. However, it is the acoustic guitar tracks that shine for me.
If you dislike Taylor’s music, you might change your mind after hearing her perform acoustically. Now, I am not a Swiftie, but I do enjoy listening to her music, especially when she does intimate shows on the acoustic. This is where you can hear the songwriter in all their glory.
Song recommendations: ‘Death by a Thousand Cuts’, ‘Cornelia Street’, ‘The Man’
As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:
Feel featuring Carter J Murphy & Steve Pemberton:
The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.
I Found Heaven featuring Tom Bales & Adam Tucker:
The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.
Rock DJ:
I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.
Relight My Fire featuring Tom Bales & Adam Tucker:
I never liked the original version with Lulu of this poppy dance track, and I still don’t.
Come Undone:
I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.
She’s the One featuring Adam Tucker & Kayleigh McKnight:
As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.
Something Beautiful:
I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.
Land of 1000 Dances featuring Adam Tucker:
This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.
Angels featuring Adam Tucker:
I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.
Let Me Entertain You featuring Adam Tucker:
One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?
Better Man featuring Adam Tucker:
From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.
My Way featuring Adam Tucker & Steve Pemberton:
Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.
Forbidden Road:
The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.
Song recommendations: Angels, She’s the One, Forbidden Road
Ed’s “Mathematics Tour Collection” was released in the late summer of last year. Still, I am unsure of what I should be reviewing, so I have reviewed the latest edition of the album that was included in the standard edition towards the end of last month, which is a live version. I am not particularly sure if the songs are from random shows or just one particular show. Apparently, the live version was recorded via Ed’s in-ear monitor. I will get on a bit later about why I believe I do not find that to be the truth
After a two-year tour, which is set to continue into the current year, the fans, known as “Sheerios”, were eagerly awaiting a live version of the compilation. Finally, as mentioned earlier, the live album arrived towards the end of last month , boasting a massive 26 songs . It’s a mammoth listen , but one that’s as good as all his shows. I was lucky enough to see him at His Master’s Voice Hatfield Forum in October 2011 during his debut “Red” tour , an experience I’ve already shared in my first review of his material.
Despite being live, the mix has been produced to make it smoother than it usually is in a live setting. I enjoyed most of the songs performed. Of course, there were songs like ‘Sing’ and ‘Bad Habits’, which I do not, but I gave them a chance. They are better than their studio counterparts.
Back to earlier with the in-ear monitor, I heard that the sing-alongs were not evident, but I found that nonsense. I could hear his biggest hits sung by the crowd and Ed participating in crowd participation. It didn’t sound like they used an in-ear monitor for those tracks because I could hear everything crystal clear. You wouldn’t get that from a monitor because you hear what every member of the band is doing. You will notice most musicians take their monitors out during crowd interaction, or they would only hear muffling.
Get ready for an immersive journey because this review is going to be a deep dive. I tuned in to this album via his official YouTube channel, but the ultimate digital experience is the one mixed with Dolby Atmos. If you haven’t tried it yet, it’s like being right there in the studio or at the show. This technology is so powerful that it might even overshadow physical CD versions, which currently can’t match its immersive quality. Just like at his live shows, the opener is ‘Tides’.
I love ‘Tides’. It’s a full-on rock anthem, and it’s clear why it’s chosen as an opener. It’s a real crowd-pleaser, and I can only imagine the electrifying atmosphere it creates in a stadium. Despite not being one of his popular tracks, I’m certain that after this tour and the release of the live edition, it’ll gain a strong following and become a fan favourite. I was personally captivated by its rock attitude and enjoyed it thoroughly.
Does Ed’s music resonate more with his loop pedal or with a band? The answer is in your hands. For me, it’s a matter of the venue. I find his solo performances more intimate in an arena or open air, while the grandeur of a stadium is best complemented by a band. Imagine ‘Tides’ without a band in a stadium-it’s a rock anthem that thrives on the depth and fullness a band brings.
After that barnstorming opener, the tempo drops with ‘Blow’. Ed still puts his heart and soul into it to win the crowd/listener over.
‘Castle on the Hill’ follows, and it sounds amazing live, especially in a stadium. Live is where it is at for me. Studio recordings can never capture that magic in a bottle. Again, this track would be flat without a full band.
Now, usually with Ed’s live albums, they fuck up how he uses the loop pedal, and your mood can drop while Ed sets it up for the song.
However, on ‘Shivers’, which follows ‘Castle on the Hill’, they have cut out all the fannying around, and the track begins as he has almost finished setting up, so you are still riding from the high of the previous track.
Of course, some Sheerios will not like the idea of not seeing him set up the loop pedal with his various sequences and layers, especially on the final track, ‘Bad Habits,’ but the producers have to think of all the listeners and how to keep the momentum.
The live version includes all his songs, such as ‘The A-Team’, ‘Lego House’, ‘Give Me Love’, et cetera. You cannot please everyone with the listings, but that’s how the dice rolls.
I mentioned in my review of “Divide” that ‘Dive’ is a heart-wrencher, but Ed sings it subliminally live. Knowing the personal meaning behind it makes it even more of a standout because he manages to keep his emotions in check.
Tracks like ‘The A-Team’ and ‘Lego House’ from his debut “+” remain timeless and still are live favourites.
‘Overpass Graffiti’ was performed the correct way live to bring the rhythm section to life. Ed with just a loop pedal wouldn’t have given it justice.
One of the main sticking points is crowd participation, with some arguing it’s difficult to hear the crowd. However, I personally disagree; I can hear them loud and clear. Perhaps I’ve just been lucky to have the volume set at the perfect level. To gain a broader perspective, I’m eager to hear from a Sheerio who was at one of these shows.
My one flaw with the live tracks is the remastering of them. I would rather hear all the imperfections, and the rawness you experience at the shows. Now, I am not saying include the soundboard(they sound terrible when you listen back), but smooth it over just enough to keep that live feel.
Hopefully, any of the flaws can be corrected in a live film version, which surely has to be inevitable to celebrate a tour of this magnitude.
Of course, my absolute favourite will probably always be ‘You Need Me, I Don’t Need You,’ and it hasn’t changed after listening to it on this tour. The delivery, the flow, and the lyricism have always been top-class on this. Now, I am going to hopefully do this once this year; who knows? I am going to pick tracks you should avoid because there were far too many excellent tracks.
David Gilmour returns nine years after his previous solo album. He announced his return with the leading single ‘The Piper’s Call’ a while ago now. “Luck and Strange” is David’s fifth solo record since he embarked on a solo career in 1978. Of course, he was also in Pink Floyd back then and has been in sporadic reunions. Many have said the Pink Floyd albums he did without one of the founding members, Roger Waters, are nothing more than David’s solo career concealed behind the band’s name. Especially “The Endless River”. I bought that as a Christmas present for a family member. They were left unimpressed as it was full of guitar solos and instrumentals. The only track with vocals on was a soundbite of the late Stephen Hawking. I have heard the record and concur that it is just David performing guitar wizardry.
I find it quite odd that after 46 years as a solo artist, David has just released five albums. Okay, he has done records with Pink Floyd, but even they have been quite lengthy album-to-album. I also found it rather bizarre that he appeared on Later…with Jools Holland in the ’90s when he wasn’t on tour or releasing any material. His estranged former band member Roger Waters hasn’t released many himself, with 4 in over 40 years. Is this a way of signalling yet another reunion? They seem not to care that much about releasing their own material. Especially in the modern era, when promoting an album via a tour is necessary. Or is it a case of them needing each other to bounce ideas off but being too stubborn to set aside their differences?
As much as my political views do not align with David’s or the fact I wasn’t born with the fine bone china spoon in my mouth, I will not let this blur my judgment on how great a guitarist he is. Besides listening to him, whether solo or with Pink Floyd, the way he plays is effortless. He doesn’t even look like he is concentrating. He is that smooth. My favourite solo of his will always be from ‘Comfortably Numb’. His axe-manship is also easy to define. It doesn’t matter if he is collaborating or not. You know it’s him. I cannot recall when I first heard Pink Floyd, but I remember seeing this really cool sleeve of “Dark Side of the Moon” and thought I’d listen, and it remains one of my favourites. I loved listening to it when I was baked. It didn’t encourage me to seek out David’s solo work; I just wanted to do it anyway because I found him to be a great guitarist.
His next solo album, “About Face,” was released in 1984, and it is considered his best by his fans and peers. Although he wrote most of the songs, he co-wrote a few with Pete Townshend. Returning to his relaxed approach to releasing albums, his follow-up was an astonishing 22 years in 2006 with “On an Island,” during which time he was chastised for using his wife as the songwriter.
Of course, it would take another nine years before he released his third album, “Rattle That Lock,” another record that received scathing reviews from the critics. ‘In Any Tongue’ was one of the few tracks that was any good. I imagine the critics savaged David again because he employed his wife for songwriting. However, it’s important to note that ‘Rattle That Lock’ was a vast improvement on “On an Island,” a sign of hope and optimism for the future.
Another nine years after his fourth album is “Luck and Strange”, which I have enjoyed listening to so far. It seems David has regained his hunger, and it was well worth declining Noel Gallagher’s request to do the solo on ‘Easy Now’ because he was busy recording this. Again, his wife returns as lyricist, his son on backing vocals, and his daughter takes lead vocals towards the end of the record. I actually think it’s the last track, but it has been over a week since I last listened, so my memory hasn’t been jogged.
Hindsight is a beautiful thing, and maybe I should have sought out the extended edition, which has an additional two tracks that are instrumentals. David isn’t a strong vocalist, but he is superb when he lets his guitar playing do the talking. The opener is called ‘Black Cat’ and is your quintessential David Gilmour sound. ‘Vita Brevis’ is a brief acoustic track over an album brimmed with long tracks that features sudden silence before going back into it. The final track is an extended version of the title track. It is dubbed ‘Luck and Strange Original Barn Jam’. This appears to be added as filler, but it’s David with his band having fun and goes on for 12 minutes. The guitar playing is once again effortless.
On the shorter version of the title track, David has added the keyboards of his late bandmate Richard Wright. This is a beautiful and nostalgic tribute to him. Does it sound like Pink Floyd for this reason? It probably does, invoking a sense of nostalgia. However, I find that David’s solo material is more removed from the band.
‘Dark and Velvet Nights’ is another highlight with organs and an ear-bursting sound. ‘Scattered’ has a piano solo, and you would expect David to follow it up with a guitar solo on this progressive blues track, but instead, he starts singing. ‘A Single Spark’ is a ballad with David at one with his Fender Stratocaster. I can just imagine him closing his eyes and falling into a trance as he plays effortlessly.
I feel ‘Between Two Points’ with his daughter Romany doesn’t get the love it deserves. The penultimate track addresses misogyny with lyrics written by her mother, but that isn’t why I like it. I like Romany’s vocals on this family affair track backed up by her father’s almost vocal-like axe-manship. ‘Sings’ is an acoustic ballad, which isn’t all that, I’m afraid. It’s a bit bland for David’s calibre. ‘Yes I Have Ghosts’ is a folk track over an acoustic that might not please the purists. The record, which I was shocked to see usurp Oasis, is…I don’t know. I love his solos and overall playing, but there isn’t a punch to it. The lack of ‘punch’ in the record, in my opinion, is due to the lack of dynamic changes and the consistent mid-tempo pace. It is mid-tempo to a plod. There’s not much change in the tempo—nothing to really get you moving.
In conclusion, I would encourage you to savour David Gilmour’s sublime playing and effortless solos. This is the heart of the record, a true reflection of David Gilmour’s artistry. The album itself is a typical display of his carefree attitude towards recording, a trait he often exhibits. He hints at a follow-up after the tour. As I said, this is a celebration of his guitar mastery, above all else.
Song recommendations: ‘Black Cat’, ‘Between Two Points’
The band formed in 1991 and was originally called The Rain after a Beatles b-side from their ‘Paperback Writer’ single. The band was founded in Manchester by Paul ‘Bonehead’ Arthurs (rhythm guitar), Paul ‘Guigsy’ McGuigan (bass), Tony McCarroll (drums and percussion) and Chris Hutton (lead vocalist). Chris didn’t last long and was replaced by Bonehead’s friend Liam Gallagher, who was far from impressed with the band’s name. He said they should change it to Oasis after an Inspiral Carpets poster he had in his room that was a promotional poster for their gig at Oasis Leisure Cente, Swindon. Liam’s middle brother Noel was also the roadie for Inspiral Carpets at the time. That was shortly to change. Noel was in attendance at the band’s debut gig on August 14, 1991, at Manchester’s Boardwalk, where they were at the bottom of the bill, including the Catchmen and Sweet Jesus. The band played songs written by Liam and Bonehead called ‘Take Me’, ‘Alice’ and ‘Reminisce’. Noel felt there was something in the band, even though Liam sounded like The Stone Roses frontman Ian Brown, down to Ian’s famous onstage swagger. Noel then approached the band to give his thoughts. Younger brother Liam asked him if he would like to be their manager.
Noel refused but said he would like to join the band on the condition that he would be the only songwriter and become the leader, and they were dedicated to the band, which would lead to being signed and more. The band agreed to his terms, and Noel went to work first of all by removing the songs written by Liam and Bonehead, only opting to keep ‘Take Me’. He also changed how Bonehead, Guigsy, and Tony played. He got Bonehead to play barre chords, Guigsy to play root bass notes, and Tony to play basic rhythms with the band’s amplifiers turned up to maximum to create distortion. Noel would also take up duties as lead guitarist/backing vocalist. The distorted sound gave them a raw sound that wasn’t being done at the time and gradually got them noticed, especially at King Tut’s Wah Wah Hut, Glasgow, where Alan McGee, the head of Creation, heard them after missing a train to London and went along to see one of his acts. Although ten people were inside the venue, he liked what he heard and approached Noel to see if they were signed. When Noel said “No”, he asked if he wanted a record deal. Noel casually answered, “Yeah. Alright.”
From there, as you will probably be aware, their rise went fucking stratospheric. Their first two albums, “Definitely Maybe” and ” (What’s the Story?) Morning Glory”, would reach the summit and still remain classics. They then played iconic shows like Earls Court 1995, Maine Road 1996 and Knebworth Park. They were always attracting the media’s attention with anything from controversial comments to the Gallagher brothers constant fights and arguments. The band also almost split up several times over issues ranging from poor gig performances to abandoning tours to go house hunting. Band members came and went during their prime and their transitional years. Tony McCarroll was the first to go in 1995, followed by Guigsy briefly in 1995, before returning after Scott McLeod left during the American leg of “(What’s the Story?) Morning Glory? Tour. Guigsy and Bonehead would both depart in 1999. Alan White in 2002, with his brother Steve briefly taking over, Zak Starkey in 2008, and Mike Rowe would leave as the touring keyboardist to be replaced by Kula Shaker’s Jay Darlington. The final lineup would feature Colin ‘Gem’ Archer and Ride’s Andy Bell, who joined in 1999, with Chris Sharrock becoming the drummer in 2008. I don’t really need to go in-depth into what happened at Rock en Seine, Paris, on August 29th 2009. My reviews of Liam Gallagher and Noel Gallagher’s High Flying Birds have more than covered that. The band announced, though, that they were reforming on August 27th this year, with several dates announced for the UK and Ireland leg of their “Live 25” tour, which sold out in minutes.
Further dates are set to be announced for a global tour. The brothers have also done a photo shoot with Simon Emmett this year and reconciled with each other, despite being rumoured to be kept at arm’s length when the tour starts next July. Now that’s done, let’s begin introducing “Definitely Maybe”.
“Definitely Maybe” was released 30 years ago, on August 30th 1994, and the debut album went straight in at No.1. The leading single ‘Supersonic’ released in April , while not breaking the top 20, set the stage for what was to come. Two further singles, including the rather corny ’Shakermaker’ released in June, added to the anticipation. However, it was the release of ‘Live Forever’ three weeks before “Definitely Maybe” that truly made an impact. This now timeless classic, with its optimistic lyrics and melody, was enough to convince people to buy the album. Not forgetting their electrifying promotional tour performances and the controversy surrounding the band, most notably the Gallagher brothers.
“Definitely Maybe” was different from what was on the album chart. It was raw, loud, choc full of lyrics about optimism, and had a punk spirit. Many have labelled the record indie, but I feel it is more punk than anything. The album has no heirs and graces; It is unapologetically loud and in-your-face. A stark contrast to the clean sing-a-longs Blur used for “Parklife”. However, “Definitely Maybe” almost didn’t happen. They booked in Monnow Valley, Wales, in 1993, a time when the music scene was dominated by grunge. Oasis were about to record something completely against the grain. But for some reason, they couldn’t find the energy needed to match Noel’s expectations. They binned off recording there. Noel was utterly unsatisfied. The producer, Dave Batchelor, was a casualty because of this. They then tried again at Sawmills, Cornwall, in January 1994. Recording as if they were performing a gig, with Mark Coyle and Noel producing. Noel was again disillusioned and contacted Alan McGee, saying the album wouldn’t happen. Alan had other ideas, and as he invested a lot of time and money into Oasis, you could see why he took action. Alan hastily contacted engineer and producer Owen Morris. He would get straight to by re-recording some of Liam’s vocals, making Tony’s drum sound more punchy, and removing Noel’s excessive guitar layers.
Owen’s changes would bear fruit, and the guitars and drums were aligned with what Noel wanted. However, apart from Owen saving the day by mixing it at Johnny Marr’s Manchester studio, no one can deny it was the great songwriting of Noel Gallagher that was the real magic behind the songs. He had and does have this knack for writing songs with basic chords, catchy choruses, and meaningful lyrics that are not necessarily poetic but incredibly effective. His lyrics have a way of resonating with the listener, and his melodies draw your attention. You have to see ‘Rock n Roll Star’, ‘Live Forever’, and ’Supersonic’ from the album as evidence.
The band was inspired by The Beatles, The Jam, The Sex Pistols, and cheekily lifted the ‘Bang a Gong (Get it on)’ riff by T. Rex for ‘Cigarettes & Alcohol’ while recording. I have heard many slurs that the band is an inferior version of The Beatles, but I do not share this view and see many of Noel’s influences in the music. “Definitely Maybe”, for me, is more Sex Pistols leaning. I have had many debates about that, but for me, it just is; it embodies the whole punk sound. Now on its 30th anniversary, the record has been released in spatial audio with Dolby Atmos, and if you thought the record sounded great in 1994 or when it was remastered, then this will fucking blow you away. It is beyond amazing. The 30th-anniversary edition also contains:
The original Monnow Valley recordings.
Outtakes from Sawmills.
A Liam on vocals demo of ’Sad Song’.
Now, let’s get on with what you really want. The track-by-track review:
Rock n Roll Star:
Right from the start, it’s a burst of energy. The lyrics echo our deepest desires, and the music whisks us away from the daily grind, offering a comforting respite from life’s challenges. It’s always been a personal favourite, whether I’m listening to the record or experiencing it live.
Shakermaker:
I’m not a particular fan of this one. It is corny, yet at the same time, has a certain charm to it. It is also lifted from the 1971 Coca-Cola jingle I’d Like to Teach the World to Sing (In Perfect Harmony). Here is a little fact: Nowaysis covered both versions. The song is also inspired by elements taken from Noel’s listening preferences- you have “Plasticine” from The Beatles, “Mr Clean” from The Jam and “Mr. Soft” from Cockney Rebel. He also references his local Mancunian record shop, Mr.Sifter. When the band perform this live, they occasionally include an extra verse with the Coca-Cola jingle. Noel was cheeky in how many references he used in this song and was fortunate not to be sued by more than just Coca-Cola Schweppes.
Live Forever:
I absolutely adore this song. It is without hesitation my favourite Oasis song. The lyrics are about wanting to live forever to counter the dark lyrics of the late Kurt Cobain during that period. And who doesn’t want to live forever? In the case of Oasis, they will. They are immortalised with songs like this. This track was the catalyst that led me to pick up the guitar and start writing. While everyone wanted to be Liam, I wanted to be Noel. That guitar solo still sends a shiver down my spine. It may not be the most intricate, but it sold learning to play for me. I feel sorry for Tony, though. In the obligatory video, he is buried before rising again after the guitar rings out. Was this subtle to say he was going to be sacked?
Up in the Sky:
Liam’s vocals are superb, matching the tempo of Noel’s riff. Hearing this live is exactly the same as the studio version. Although, Liam might change the lyrics occasionally.
Columbia:
The track started as an instrumental jam before the lyrics were finally added. The surreal lyrics and sound effects match the psychedelic feel. It’s another personal favourite of mine.
Supersonic:
Noel claims to have written this in ten minutes during the sessions, and a dog called Elsa was present, which led to one of the lyrics. Although I enjoy this from the opening drums, I prefer the live version. Noel goes on a mad one and does an extended outro with a blistering guitar solo. Experiencing this one live is something special. I am still dumbfounded how it didn’t break the top 20 upon its release. It’s a timeless piece of music that we can all appreciate.
Bring it on Down:
This one is definitely punk. You can hear The Sex Pistols. It reminds me a bit of their b-side (Also features on “The Masterplan”) ‘Headshrinker’ without the riff from ’Saturday Night’s Alright (For Fighting)’ being partially lifted. It is just raw, from the guitars down to Liam’s snarling vocals. At one point, I believe he is singing into a megaphone. It certainly is that effect, at least. Tony originally wasn’t grasping this tempo, so Noel hired a session drummer, who also struggled. Then, for some reason, it all clicked for Tony. Originally, this was going to be their debut single. And let me tell you, it’s another barnstormer when performed live, full of energy and excitement.
Cigarettes & Alcohol:
Of course, the riff is lifted from T. Rex’s ‘Bang a Gong (Get it on)’ as mentioned in the introduction section. The song embodies wanting to forget about life and have it while drinking and smoking. It is just uplifting all round. Underneath all the bombastic is quite a political message, but it also says fuck it. Just live it up, drink, smoke and do cocaine. For me, the song doesn’t come alive until the outro. Liam singing that last verse with attitude and a snarl. I also like the guitar solo in the outro.
Digsy’s Dinner:
This is an ode to Noel’s friend Peter ‘Digsy’ Deary from The Sums. Although Digsy is not mentioned in the song, one of Digsy’s anecdotes about lasagna is. It is a short, cheerful, piano-based cheesy sing-a-long. The way Liam elongates “lasagna” is very clever in keeping with the guitar melody but also quite funny. The live performance of this song is where the real excitement lies. It is much better live.
Slide Away:
An ode written to his then-girlfriend. Unfortunately, she left him not long after because she believed he was going nowhere. Ha. The jokes on her. I would describe it as a melancholic love song. Noel recorded this on a Les Paul loaned by Johnny Marr. I love Liam’s sustained vocals on the chorus. The song is great, but you know the genuine emotion behind it when it’s stripped back.
Married with Children:
Noel was writing and a the television show sharing the same name as the title happened to be on. The song itself centres on pettiness when sharing a home with a lover. I have had debates over Liam’s current vocals, and how they have declined, and when they ask “why?”, I point them in the direction of this stripped back track. His vocals are angelic and on point. Many have said Liam is a monotone vocalist, but I refute that when you hear this. Liam at his very best.
Overall:
How do I write this? I’ve already lauded the album countless times within the review. You can understand why it is considered the favourite Oasis record for many, including myself. Noel has mentioned he loves it and has been playing it constantly on its 30th anniversary. “Definitely Maybe” is about escaping the usual shit we face and longing for a better life with sprinkles of optimism. An exquisite sound hides the melancholic lyrics (sometimes cheerful). The record also signified what was to come for Oasis. All of these songs are brilliant live. It was strange, yet pleasing to hear ‘Married with Children’ electric. I may not have touched much on where the punk is on the album. It’s all over. From the defiant lyrics and punk rock instrumentation to Liam’s snarling. I don’t know what to say if you cannot hear that in songs like ‘Rock n Roll Star’. There is a reason this record has stood the test of time. I don’t think I will ever tire of listening to it. It’s apt that a record that inspired hope 30 years ago has returned to the summit as we are now back in the same political situation. We need something to raise our spirits and return to feeling hopeful.
Song recommendations: ‘Live Forever’, ‘Rock n Roll Star’, ‘Married with Children’
This will be a short review. I dreaded listening to and reviewing the latest No. 1 album when I saw it was Post Malone. I’ve never been a fan. However, I was intrigued to listen this time as I discovered “F-1 Trillion” was a country record. This features a plethora of who’s who from the scene, including young and old artists like Luke Combs, Billy Strings, Tim McGraw, and Dolly Parton. I really wanted to like the album for that alone. Unfortunately, Post’s incessant use of autotune ruined a record that had the potential of being great, with its lyrical content and sublime collaborations.
Honest Opinions 