Acoustic

Week 12: U2- Songs of Surrender

~ honestopinions19 ~ Leave a comment

I must confess that I was fucking terrified of how to approach this review. I wondered if it would be a written paragraph review, track-by-track, or short track-by-track. I mean, U2 are the most fucking iconic band ever, and I wanted to do them justice with a review of this. 

The band started in Dublin during the mid-70s when Larry Mullen Jr requested band members wanted on the school notice board. He would get five responses, which included Bono, the Edge, Edge’s brother, and Adam Clayton. Before the lads settled on U2, Larry thought he would be in charge of the band until it appeared 10 minutes into the formation that Paul Hewson, aka Bono, had other ideas. Dik Evans (Edge’s brother, who has gone on to have a successful music career) would be phased out a year after the formation of Feedback, then the Hype. Ivan McCormick lasted a mere two weeks before being dropped. He would go on to become a composer.

Since then, the rest of history. The band has several iconic albums packed with political issues, bombastic choruses, and stadium anthems. The band was very punky, to begin with, before working with Brain Eno, which proved highly challenging for the band, who fell out on several occasions with Brian during recording sessions. In a documentary, the band admitted that they hated those sessions because he wanted to bring his production watermark to the album. Bono would constantly push back. However, “the Joshua Tree”, which the band confessed, until they did the anniversary in 2017 and 2019, supported by the likes of Noel Gallagher’s High Flying Birds, they were not particularly fond of, but now have found some love for it. Many people are fond of “the Joshua Tree”, where the hits and stadium anthems started to roll in. There is no doubt that Brian’s second time working with the band changed their sound forever and made them more versatile from that moment on.

The band have been together for over four decades, and despite the squabbling during the recording sessions for “the Joshua Tree”, they haven’t got close to breaking up since. How did it get to this? Well, last year, Bono released a book called ‘Surrender’, an autobiography ranging from anecdotes about his time in U2 to meeting the Pope with bonus content in the audiobook. Bono would do acoustic versions of their iconic hits when he did a reading tour., which brought the “Songs of Surrender” to life.

From there, the band had this concept of doing stripped-back versions of all their hits (That’s a staggering 40.)over four discs titled after each member. The Album is over three hours of listening time in total. Anyway, I have opted for a brief track-by-track review, so here goes:

Disc 1: the Edge

One: 

Piano ballad, a gentle cymbal at the end of the chorus, soft vocals throughout, and the last chorus builds up with ghostly backing vocals and marching drums on the outro.

Where the Streets Have No Name: 

Cello intro, haunting synth verse, the piano joins on the chorus, synth rings out on outro.

Stories for Boys: 

Piano intro leading into verse, backing vocals on the verse, piano break, vocals over piano riff on the chorus, short piano riff outro.

11 O Clock Tick-Tock: 

Drums and acoustic intro, acoustic plucking and piano in verse 1, bass riff and Bono falsetto in chorus, harmonic vocal break, backing harmonies with piano in verse 2, acoustic solo joined by plucked acoustic, gentle electric guitar on outro

Out of Control: 

Acoustic solo intro, pulsating acoustic on the verse, reverb vocals over rhythmic acoustic on chorus 1, backing vocals on chorus 2, rhythmic acoustic on the bridge, acoustic solo break, bass on chorus 3, acoustic rings out on outro.

Beautiful Day: 

Piano ballad with pulsating acoustic with scratching and backing vocals, pulsating piano in chorus, harmonic vocals leading into verse 3, choral bridge, pulsating drums in chorus 2, and choral outro.

Bad: 

Acoustic intro over tambourine leading into verse, piano and strings join on verse 2, marching drums with an acoustic riff on the chorus, marching drums build before the harmonic outro.

Every Breaking Wave: 

Haunting piano riff intro is repeated in verses, with backing vocals on the bridge, light strings in chorus 1, reverb vocals in verse 2, synth joins in chorus 2, piano break, and piano riff outro with sustained high vocals.

Walk on (Ukraine): 

Plucked acoustic intro, backing vocals and bass join verse 2 with plucked acoustic, rhythmic acoustic on chorus 1, piano on chorus 2 with a light cymbal crash, pulsating piano on outro with riff.

Pride (in the Name of Love): 

Rhythmic acoustic with bass intro, backing vocals on the chorus, piano with an acoustic riff on break, electric guitar solo break with full band outro before fade out.

Disc 2: Larry

Who’s Gonna Ride Your Wild Horses: 

Pulsating acoustic, cello and piano in verses, a rhythmic acoustic riff in the chorus,  bass joins from verse 2, backing vocals from Edge in chorus 2, and synth rings out on the outro.

Get Out of Your Own Way: 

Drums, acoustic and backing vocals on the intro, bass joins in the verse, harmonic backing vocals with an acoustic riff on the chorus, and instrumental outro.

Stuck in a Moment You Can’t Get Out of: 

Acoustic intro leads into verse, backing vocals from Edge, bass joins on the chorus, bongos on verse 2, piano joins on the outro, and acoustic rings out.

Red Hill Mining Town:

Haunting synth and acoustic on intro leading into verse with drums, bass and Trombone Shorty, chorus 2 with harmonic backing vocals, sustained trombone on the outro.

Ordinary Love:

Acoustic riff intro leading into verse, synth, bass and backing vocals on the chorus, acoustic riff break between verses, acoustic rings out on outro.

Sometimes You Can’t Make it on Your Own:

Piano intro leading intro verse, falsetto backing vocals on bridge, electric guitar riff, marching drums, tubular bells on verse 4 and final chorus, piano and bass drum outro.

Invisible:

Acoustic riff, piano, bass and drums intro leading into verse, the song builds on the chorus with backing vocals leading into the instrumental break, full band outro before Bono and backing vocals acapella.

Dirty Day:

Cello intro leads into verse, Bono whispered vocals in verse, the electric guitar riff in chorus, the violin joins in verse 2, Bono’s vocals slightly louder in verse 3, backing vocals in chorus 3, sustained violin, Bono’s sustained vocals, and acoustic rings out on outro.

the Miracle (of Joey Ramone):

Acoustic lead and full band intro leading into verse, backing vocals on chorus, piano, acoustic and Bono harmonies on break, backing harmonies on verse 2, short acoustic break, harmonic vocals with an acoustic outro.

City of Blinding Lights:

Piano and bass intro, piano and Bono on verse 1, backing vocals on bridge, backing vocals and acoustic on chorus 1, electric guitar joins on chorus 2, haunting harmonic vocals break, piano rings out on outro.

Disc 3: Adam

Vertigo:

Violin and rhythmic acoustic intro, rhythmic acoustic verse, violin and acoustic on chorus and post-chorus, violin and acoustic break, cello outro.

I Still Haven’t Found What I’m Looking For: 

Acoustic riff and tambourine intro lead into verse, Bono with mid-volume vocals, Edge backing vocals, and bass join on verse 2, electric guitar on break, piano and full drums join on verse 3, ghostly outro.

Electrical Storm:

Piano and electric guitar intro, piano in verse 1, rhythmic acoustic joins in verse 3, reverb vocals on the chorus, verse 4 same as verse 1, full band in verse 6, tambourine joins on the final chorus, light cymbal crash to end.

the Fly:

Bongos, full drums, bass and electric guitar on intro leading into verse, haunting backing vocals on the chorus, piano post-chorus, backbeat break before the verse, piano break, reverb falsetto vocals followed by an acoustic solo, then reverb vocal outro.

if God Will Send His Angels:

Piano intro, whispered vocals over the piano in verse, chorus with backing falsetto vocals before piano rings out, piano solo post-chorus, falsetto vocals to end verse 2, distant reverb vocals post-chorus 2, piano outro.

Desire:

Electric guitar intro, falsetto vocals, handclaps and keyboard reverb effect on the verse, fiddle solo on bridge, yoddling with backing vocals on bridge 2, keyboard reverb effect outro.

Until the End of the World:

Rhythmic acoustic intro, piano and acoustic on the verse, backing vocals on the chorus, acoustic break, acoustic solo after chorus 2, falsetto vocals on verse 3, light harmonic vocals with backing harmonic vocals outro.

Song for Someone:

Pulsating acoustic with piano intro leading into verse, backing vocals join on the bridge, piano solo with vocals on the chorus, piano solo with acoustic and bass, acoustic rings out on outro.

All I Want is You:

Panpipe effect with bass and drum intro leading into verse, acoustic lead on the chorus, rhythmic acoustic break with the full band, bongos and falsetto vocals on final chorus, bass and bongos outro.

Peace on Earth:

Acoustic intro, empty church ambience vocals, the choir joins acoustic on chorus, full band joins choir and acoustic on chorus 2.

Disc 4: Bono

With or Without You:

Acoustic bass and synth intro leading into verse, building post-chorus, vocals build on the bridge, full band on the final chorus, electric guitar solo with brief Bono harmonic vocal outro.

Stay(Faraway, So Close!):

Backing vocals over piano intro leading into verse, electric guitar and full band on verse 2, falsetto with falsetto backing vocals on chorus, piano and Bono vocals on verse 3, verse 4 as verse 2, brief instrumental break before the chorus, harmonic vocals with backing harmonic vocals break partially spoken word on outro with electric guitar ringing out.

Sunday Bloody Sunday:

Acoustic riff with harmonic vocals, rhythmic acoustic on the verse, Edge backing vocals on chorus with change in rhythm, acoustic break, bass joins on chorus 2, acoustic solo, three-string pluck outro.

Light of Home:

Acoustic riff with synth intro, backing vocals in verse, full band in the chorus, ghostly vocals in post-chorus, full band in verse 2, backing vocals on bridge, acoustic solo, sustained vocals before a change in tempo with backing vocals outro.

Cedarwood Road:

Rhythmic acoustic intro leading into verse, change of acoustic tempo with backing vocals on the chorus, reverb vocal effect on verse 2, change of rhythm with the full band on verse 3, reverb effect outro.

I Will Follow:

Acoustic riff with strings intro, piano and bass join on the verse, acoustic riff break, full band on verse 2, backing vocals on the chorus, brief acoustic solo, sudden stop to end.

Two Hearts Beat as One:

Piano, bass, beatboxing, funky intro. Pulsating drums with the full band on the verse, backing vocals on the bridge, funky break with electric guitar, and piano break before the outro.

Miracle Drug:

Drum intro leading into verse, the piano joins on the verse, backing vocals on the chorus, acoustic rings out, acoustic with Bono on verse 2, full band on verse 3, brief acoustic break before the bridge, brief silence before the final chorus, rhythmic drum outro.

the Little Things that Give You Away:

Acoustic and bass intro, keyboards join on the verse, full band on verse 2, acoustic break before verse 3, backing vocals with reverb on chorus 2, acoustic, keyboards and bass on verse 4, the song builds on the bridge before the brief acoustic solo break, acoustic rings out on outro.

40:

Haunting piano with electric guitar intro leading into verse, bass joins on the verse, backing vocals on the chorus, piano break.

Even if you are not a fan of U2, you will be after hearing this. Upon listening, you will soon realise every track has a unique originality to its original version. It is a monumental effort to reimagine songs; looking at what I’ve written, you might consider it tedious, but far from it.

Song recommendations: ‘Two Hearts Beat as One’, ‘Beautiful Day’, ‘Vertigo’

9/10

Week 11: Miley Cyrus- Endless Summer Vacation

~ honestopinions19 ~ Leave a comment

I do not know how I first came to hear of Miley. I just knew she was the daughter of Billy Ray Cyrus, who had the early 90s country pop smash shit ‘Achey, Breaky Heart’. I also knew she played a character called Hannah Montana on some children’s television channel, and I believe she was also part of the infamous Disney Kids Club. I remember her appearing as Jake’s fling on Two and a Half Men. Now, as you can imagine, the music I have heard of hers is all that awful pop chart shite. But I have enjoyed her collaborations with DJs, and her country songs, which her vocals are better suited for. I also enjoyed her cover of ‘Nothing Else Matters’, which I reviewed on someone’s album. The name of the artist who collaborated with Miley to cover the popular Metallica songs escapes me now. I have so far avoided her cover of ‘Slideaway’ by Oasis. I have heard it’s good, but nothing beats the original or better.

So, “Endless Summer Vacation” certainly wasn’t the usual kind that Miley churns out; far from it. This album is not pretentious in any way. Miley reveals every detail about her marriage, divorce, embarking on a relationship, and other topics, with minimal swearing, which is a surprise.

I need clarification on why the opener “Flowers’ gets a raw deal. It is by far the best song on the record in both guises (The closer is a stripped-back demo version.). Again, I wasn’t expecting her to do a melancholic song over a disco stomper, which also throws in a strings section that deems this track a comparison to Gloria Gaynor’s ‘I Will Survive’. I like how the song is directed at Liam Hemsworth, but with the disco vibe, you are carried away by the uplifting instrumentation.

‘Jaded’ is the second track, and…wow! Fucking shoegaze? I never thought I’d hear Miley channel the War on Drugs or Slowdive. So, you got that floaty instrumentation over a synthesiser and Miley’s best vocals on the record. The topic concerns being in a dysfunctional relationship and how she is often at home waiting for her boyfriend (Now an ex, in this case.)to return from the bar after heading out in his car. However, he does not try to notify her of when he will return, so she is unaware. She is exhausted by his coping mechanism. Hence, why the chorus says, “You Leave me feeling jaded”.

The next song is ‘Rose Colored Lenses’, another shoegaze moment. ‘Thousand Miles’ follows, which features Brandi Carlile on co-vocals and acoustic guitar. This Americana track is about keeping your shit together when the head is all over the place. ”Handstand’ is a spoken word song with a synth and springs to life after the halfway point turning into electropop. Only then will the song have a lot going on.

‘Muddy Feet’ features Sia on both the song and the writing credits and sees Miley aim at a cheating ex. The delivery is raspy until she steps it up by telling him to “fuck off”.

‘Wildcard’ sees Miley explaining her imbalance in a relationship, saying that she wants it all and is fully committed, but she cannot guarantee that it will remain that intense. 

‘Island’ is a double-sided coin. It can mean feeling euphoric about finding someone, and then it can also mean feeling alone after breaking up with someone and longing for those moments.

On the outro, Miley has shown maturity on this album and discusses things she might have shied away from before. It certainly is an eye-opener to the honest Miley and not the one portrayed in the media.

Song recommendations: ‘Flowers’, ‘Flowers(Demo)”, ‘Jaded’

7/10

Week 10: the Lathums- From Nothing to a Little Bit More

~ honestopinions19 ~ Leave a comment

After the success of their debut album, it was always going to be a complex task to make the second record just as good or better than the debut. So many have yet to live up to the expectations of their debut because they gave everything to ensure they would spark instant attention, so they appear to fall short either through sheer panic or loss of creativity. Unfortunately, if the second album is a miss, the attention seems to dwindle, and you fall down the pecking order on the festival bill. After “How Beautiful Life Can Be”, could “From Nothing to a Little Bit More” live up to the expectations the fans and listeners demanded?

Well, although the album is more in-your-face this time. There is still that formula the band used from the debut. The biggest shock, despite being signed to his label, is the band hasn’t brought in the Coral’s James Kelly on production and opted for Jim Abiss, who produced the Artic Monkeys record “Whatever People Say I am, That’s What I’m Not” and of course “19” and “21” by Adele. As you can see from the albums mentioned that Jim has a good track record of producing brilliant records. The opener ‘the Struggle’ further proves Jim’s pedigree.

The song is about a relationship split, where once again, just like he did on the reflective tracks on the debut, Alex Moore bares his soul. It may be a slow song, but the tempo goes up in the chorus fit for the arenas and festivals they will be playing in shortly. A few fans think this is when Alex is at his best.

Four teasers were released before the album, and the consensus appears that the former is the best. However, I beg to differ. ‘Sad Face Baby’ sounds similar to the Stereophonics and a bombastic chorus where Alex belts it out. The same goes for ‘Say My Name’. Yes, reflective songs are good from time to time, but it is the energetic ones that get the crowd going, like the two mentioned above. 

You would have noticed upon listening that the album is packed with attitude and full-on rock. Still, as with any record and during live performances, the tempo inevitably drops to settle everyone down. ‘I Know Pt 1’ is a slow-tempo track with a plodding soft electric guitar, which reminded me of 50 rock or ‘Unchained Melody’ by the Righteous Brothers. It surprised me because I wasn’t expecting a band full of 20-somethings to use that concept. Many would struggle to know who Buddy Holly is, yet alone be able to know the kind of melodies adopted in that era. Then another slow one is ‘Lucky Bean’, and I could hear ‘Rotterdam’ by the Beautiful South.

Their albums are pretty balanced in their career so far. The attitude and reflective tracks share them. I do not see any issue with this, but some out there would rather have a record packed with energy and less reflective moments. It could be what the band is known for when they go into the studio. As long as it makes a live performance flow, who cares? 

It was a surprise when fan favourite ‘Crying Out’ didn’t make it on the debut, and it is even more of a surprise that the band included it on this album when the four-year-old song was not considered good enough before. The track in question is part acoustic, part electric. The song begins with Alex singing softly over an acoustic guitar before the song explodes, with Alex screaming out the vocals to match the tempo. Because the fans class it as their favourite, and it was well received on the ‘How Beautiful Life Can Be’ tour, I imagine the band only felt it was right to include it on their second record.

Alex’s songwriting has improved since the debut, evident on the closer ‘Undeserving’, their ‘Champagne Supernova’ moment. The song is eight minutes. I prefer this to the debut. The songwriting is better, and the overall production will be brilliant when they promote on the road.

9/10

Song recommendations: ‘Sad Face Baby, ‘Lucky Bean’, ‘Crying out’

Week 3: Courteeners- St Jude (Reworked)

~ honestopinions19 ~ Leave a comment

Wow, oh fucking wow! 15 years! FIFTEEN YEARS! Since the original release of the band’s debut album, they finally made it to the summit (in 2008, it came in at No.4)with their re-worked version, which frontman Liam Fray announced at a gig they would return to the studio in 2020 to reimagine. 

Funnily enough, I was followed by Liam on twitter, but I think we had an argument over whether Oasis should return. Anyway, I liked the Courteeners when I first heard “Not Nineteen Forever’, which was heavily featured on Sky Sports show Goals on Sunday back then. Some fucking idiot said that ‘Not Nineteen Forever’ wouldn’t be heard of after a decade, let alone “St Jude” finally hitting the top spot. Not only is that fucking idiot wrong about the song, but the band did a monumental show at Heaton Park in their beloved Manchester at the end of the last decade. 

The band have also announced another show to take place at the same venue, and once again, it is a sell-out. When you watch the footage of the Heaton Park gig, you can see the band are in form and is not going away anytime soon. “St Jude” is why the band and Liam perform regularly. The record is a shit-or-bust attempt to remain mainstays or fade away like many bands who came out of that era. The album set them on their way; they have never looked back, and thousands attended their gigs singing back their anthems.

The original version of “St Jude” was met with mixed reviews, and even more so with the “Re: Wired” version, all of the songs done acoustically by Liam in 2018. They were more known in 2008 for being brash bigheads from Manchester and were not particularly liked by the media. Of course, they have grown up, and Liam has mellowed somewhat. He isn’t as outspoken as Jon McClure from Reverend and the Makers put it that way.

One noticeable thing was that the band refused to play it safe, with 12 unique-sounding tracks on the record. Unlike many who would have preferred to recycle the same old four chords, Courteeners had none of that and wanted to make the album as exciting and surprising as possible to the listeners. Back then, it wouldn’t have mattered if they did play it safe because the fans of nu-wave indie would have lapped it up regardless.

As with the original, the opener is “Aftershow, ” the track they open with at their gigs and a firm fan favourite. This is followed by ‘Cavorting’, your quintessential nu-wave indie track. When Liam originally wrote this, he was mentioned in the same breath as fellow Mancunians Noel Gallagher and Johnny Marr for his songwriting ability. Quite some statement and a compliment. ‘What Took You So Long’ showed Liam’s ability to tell a fable from a unique viewpoint. The only complaint one would have with the record, even on the reworked version, which is sharper than the original, is that it has a lot of acoustic tracks, which brings down the mood far too frequently.

The album then comes back with the band crashing in with ‘if it Wasn’t for Me’, a song that sounded like it belonged in that era. The original version of “St Jude” was too clean, which pissed a lot of people off at the time. This time, however, there is more of an edge to it, but it still sounds relatively clean. More mature sounding. Ergo, rendering the reimagined version much better than the original. Released all those years ago 

Song recommendations: ‘Not Nineteen Forever’, ‘Aftershow’, ‘Kimberley’

8/10

Week 50: Sam Ryder- There’s Nothing but Space, Man!

~ honestopinions19 ~ Leave a comment

Now, my family have always been one to watch Eurovision, no matter how crass the songs are. However, I became hooked in 2014. I felt the competition had upped its game. You were now getting more house and RnB-type songs. One year, there was even a drum n bass track by Austria or something like that. Anyway, Sam Ryder finished second (Should have been first.) behind Ukraine, who had a fucking awful song that wouldn’t have got a sympathy vote from the public if it wasn’t for the current situation. It would have finished last. ‘Space Man’ was by far the best song there. I don’t root for any nation, but Sam Ryder was robbed.

So, where did Sam come from? I didn’t know of him until he showcased his ” Space Man” song on BBC’s One Show. Friends of mine, particularly from Glasgow, filled me in on Sam and his popularity. Sam uploaded covers of popular songs to TikTok, where he gathered an off-the-scale following. I enjoyed the song, so I was looking forward to what his album would be like.

Despite his recent rise, Sam has been familiar with music. He fronted some bands, did busking and wedding receptions. He also had his own Juice bar business. 

What I liked about this record is the number of influences in his songs from Sam Fender, David Bowie, Elton John, Sum 41, AC/DC and club music. The opener is ‘Deep Blue Doubt’, and I couldn’t help but feel a Sam Fender-Esque vibe going on. The song could easily be mistaken for Geordie Sam from the instrumentation to the vocal delivery. It is my personal favourite off the album. Already a solid start and a twist of what to expect. This certainly sounds different from ‘Space Man’. The Fender horn section was missing from ‘Deep Blue Doubt’. ‘Somebody’ taps into Sam’s inspiration for funk. If I remember rightly, I thought while listening to the track; it reminded me of Nile Rodgers and Chic.

‘Tiny Riot’ is aptly named and an intriguing listen. You have the presence of Bring me the Horizon, but if they performed soul. I do not remember Bring Me the Horizon ever doing that, but this would be the result. Olly Sykes could also carry it off because of his vocal range.

‘All the Way Over’ is the first real reflective moment as he performs a piano ballad, which showcases his vast vocal range, complete with a bombastic outro featuring an orchestra. He then goes into A Day to Remember mode. Not the band at their rockiest, but more the quiet and gentle acoustic moments for his mid-tempo ‘OK’, so even though he does pick the tempo up, it is only slightly.

You may be wondering why I mentioned the late David Bowie; it’s more to do with ‘Space Man’ and Sam’s fascination with all things in the cosmos. The song is laden with space references, and David did this during his Ziggy Stardust period.

Once again, Sam has added another layer to the album. ‘Put a Light on Me’ gives you a false impression as you hear the guitar at the intro before bursting into a club dance floor filler. I, for one, was surprised to find club tracks to feature. Even if this isn’t your cup of green tea, the hook alone will suck you in.

‘Whirlwind’ wouldn’t look out of place at the Grand Ole Opry. We go from one extreme to the other as Sam brings the tempo down to a folk ballad with excellent fingerpicking on the guitar, either by him or a session musician (We will have to wait for the tour to find out.). He slightly ups the tempo with ‘Ten Tons’, where he blends funk with a piano. The vocals appear to be Sam channelling the late George Michael. The song goes in the blues direction during the guitar solo. Again, who performs that? We know Sam can play the guitar, as witnessed at Eurovision.

Sam shows even more vocal versatility as he taps into the Lumineers/Mumford and Sons/Of Monsters and Men section with the uptempo and country pop ‘More’. The tempo then drops to another folk ballad, this time with ‘Crashing Down’, which is quite apt when you consider the title, and the context. He follows that with ‘This Time’, an upbeat blues number.

I will close this review with ‘Living without You’, my second favourite, and the record closer Sam goes full-on club with this. David Guetta and Sigala feature, and I cannot see this not filling the dance floors whenever it is played. It is so uplifting—a brilliant way to end a versatile album. Sam may have been on Eurovision and a TikTok star, but he is no passing fad. Sam has proven now he is in the door; he plans to stay around for a long time.

Song recommendations: ‘Deep Blue Doubt’, ‘Living without You’, ‘More’

9/10

Week 46: Louis Tomlinson- Faith in the Future

~ honestopinions19 ~ Leave a comment

Wahey! a better number one than last week’s pile of shite. Louis Tomlinson is known for appearing on some talent show on ITV, where One Direction was born. Louis was with the band until they “split”  in the last decade. Albeit, he was on the books of Doncaster Rovers for a while, despite it being a member of the boy band. That ended after the Stiliyan Petrov charity match in 2013 at Celtic Park when Louis, in the hoops, was brutally tackled by Gabriel Agbonlahor (sporting the gold away kit.) and vomited by the by-line and came off. He wasn’t on for that long before that happened. It seemed to have given those inside Paradise a chuckle.

Anyway, the weirdest thing about Louis doing a solo project since the “split” is no one saw it coming because he never gave you a clue that he would do anything in that manner. He was still trying to figure out what he planned to do. There was no mention of starting/joining another band, either. I reckon it was pure peer pressure because within a year of One Direction “splitting”, Zayn Malik, Niall Horan, and Harry Styles had albums out. He released his debut “Walls” in 2020, which was met with praise by the Directioners (super fans.), and for the rest of us? Well, we weren’t impressed. It was neither here nor there. It was just a standard record.

What people might only be aware of if you happen to be a Directioner is that Louis was the most prolific songwriter in the band. Hard to believe when you had the likes of Harry and Niall. He is also responsible for the change in direction the band had in the latter years. He brought more of a rock element, which was fit for the stadiums they were playing.

Although I am left unimpressed with his vocals on “Faith in the Future”, I was impressed with the overall production. For example, ‘the Greatest’ combines the Script and Imagine Dragons, and ‘Written All Over Your Face’ is modern indie. The album teaser ‘Bigger than Me’ has an acoustic accompanying an electric guitar, with a steady drum beat in the verses that turns into a marching beat during the bridge before the song rises into an explosive chorus. ‘Lucky Again’ is another modern indie track. What do I mean by this? Listen to Indie radio on YouTube, and you will see that it would fit perfectly on those live broadcasts. ‘Face the Music’ has a steady rhythm guitar that has a frantic riff alongside it, and ‘Saturdays’ is a mid-tempo song about the brutal reality of splitting up with someone (Maybe in Louis’ case, it is veiled. Meaning it could be about One Direction?).

Okay, the voice may need to be ready for these songs in vast arenas for a tour next year, but the songs are in place. Dare I say it, the majority are prepared for stadiums, should he decide to do that for the tour. 

I have heard many pan this album saying it is “boring” and “wannabe Arctic Monkeys”. However, I disagree with what seems like the majority. Apart from the dull moments towards the end, I found it a brilliant, quintessential indie record.

Song recommendations: ‘Bigger than Me’, ‘Written All Over Face’., ‘the Greatest’

7/10

Week 40- Slipknot: the End, So Far

~ honestopinions19 ~ Leave a comment

 was surprised to discover this is the band’s third No.1 album on these shores. I never appreciated the band and used to call them microphone abusers until a lad named Michael told me to listen to Corey Taylor over a slow ballad with another band he was in called Stone Sour. I was impressed with his vocals and realised he could do more than the growl. That was when I started to give this kind of music a chance, and it seems then I have come to like Mastodon, Pantera, Avenge Sevenfold, Alexisonfire, Megadeth and Killswitch Engage. I forgot to say Cradle of Filth from England, who I thought was fictional as Richmond Avenal from the IT Crowd, was a fan. I felt that being television, Graham Linehan and Arthur Matthews made them up. Also, watching documentaries on bands like Mastodon took away my stereotyping because they are just regular people who love music. They are not satanic worshippers or goths.

Of course, as you would imagine, with Slipknot being a heavy metal band, most of the record is of that nature. However, there are slow ballads and even moments of space rock. The latter I would never have thought they would venture into. The lead single is ‘the Chapeltown Rag’, which sounds like Mastodon blended with Queens of the Stone Age. I found this album lighter than their previous ones; not a bad thing because we get to hear Corey Taylor’s sweet vocals to their full potential. I found some longish intros and outros that lasted about a minute with various sounds, like Corey playing the toy piano on the outro to ‘the Dying Song’. We all talk about great drummers like the late Ginger Baker, Buddy Rich, and Taylor Hawkins. However, some sensational drummers are in heavy metal, metalcore, and death metal. Jay Weinberg demonstrates that on ‘Hivemind’. If you picture it, his feet are working overtime on the bass drum. 

‘H377’ is full of rage, with Corey attacking being a product of the system over a fast-paced instrumental synchronising with the anger in his vocals. ‘Medicine for the Dead’ also starts with the same tempo before heading into space rock. 

However, you probably won’t be surprised to discover my standouts were the opener and the closer. ‘Adderall’ is a quiet beginning to the album with beautiful vocals by Corey over a smooth groove that reminded me of Fun Lovin Criminals. The final track, ‘Finale,’ starts with an acoustic guitar before Corey sings angelically over electric guitars and a choir.

The most experimental on the record, though, has to be ‘Yen’, a slow-tempo track with vocals to lure you in before the song explodes into the chorus.

I enjoyed listening to ‘the End, So Far’ and recommended it to a once devoted fan. I found it lighter and, therefore, more ear-friendly than their usual material. The songs were not what I expected from Slipknot. I suggest to those who are ignorant about them (Like I was.) to give it a listen. You will be surprised. I want to end with Corey Taylor is a fucking fantastic vocalist.

Song recommendations: ‘Adderall’, ‘Finale’, ‘the Chapeltown Rag’

9/10

Week 37: Robbie Williams- XXV

~ honestopinions19 ~ Leave a comment

 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 33: Kasabian- the Alchemist’s Euphoria

~ honestopinions19 ~ Leave a comment

Serge Pizzorno was born to be the frontman since Tom Meighan’s valid departure. Serge has been brilliant taking on the role during the current tour. Seeing the band and the ferocious levels of energy Serge brings has been a pleasure. The new album incorporates the S.L.P., which is the solo moniker of Serge. Here is the reason why in a track-by-track review coming up shortly. Firstly, I would like to say that maybe the purists will not like this new-sounding Kasabian, but for me, it works. You have elements of hip-hop, grime, indie/alternative rock, and futuristic sounds. 

Now, onto the review. I am not sure how this will play out; I might get carried away, or it might be short. Bear with me:

ALCHEMIST:

STOP SHOUTING! You discover that the majority of the titles are stylised in block capitals. The opening track is the sound of waves crashing, which is unusual for an album by Kasabian; however, this is under Serge’s command. Serge sends a clear lyrical message about the direction the band is heading under him. The lyric ‘Shut the door on your way out if you’re leaving’ is a clear message to those fans who dislike the new dawn because It IS a new dawn.

SCRIPTVRE: 

Unlike many of you who saw the band perform live, my introduction to the new Kasabian was when they appeared on the Spring edition of Later…with Jools Holland. I loved Serge’s energy during this performance and how he had the audience, fellow artists, and Jools Holland in the palm of his hand. I loved the attitude in his vocal delivery/ rapping and the profound lyrics that indicate the onus now put on him. This performance alone showed me that the band were in safe hands under him.

ROCKET FUEL:

The first track that reflects the remnants of the old Kasabian in terms of how it keeps your attention; the track is more suited to beat break with 808s, hi-hats, and hip-hop( Expect a lot of hip-hop and grime.).

STRICTLY OLD SKOOL:

Serge again touches on the changing of the guard and how he brings a sense of originality to his concept for the band.

ALGATYR:

Another track that was performed on Later…with Jools Holland. The vocal sound effect is adopted by bands such as Muse, who use it significantly in their “Supermassive Blackhole’ song. The overall sound is powerful, and Serge’s rapping could efficiently be utilised over a grime beat. Another song full of energy and lends itself more to grime than Kasabian’s once rock sound.

AE Space:

Why, oh, why do artists/ bands do this? I have no time for interludes/preludes. They are nothing but short throwaway tracks where either the lyrics were not built upon or simply the writer(s)couldn’t be bothered. These intermissions, to me, are merely a “Fuck it. That’ll do” moment on an album.

THE WALL:

A melancholic song about relationship troubles.

T.U.E(the Ultraview Effect):

This one has the essence of a Pink Floyd song and certainly takes its roots from progressive rock.

STARGAZR:

Futuristic sounding track with keyboards gives it that space feel before completely turning on its head after the halfway point and becoming more hip-hop that you would have heard in the 1990s. Not surprising when you consider that Serge would have grown up with that kind of hip-hop being a young kid in the 90s.

CHEMICALS:

Now, I did hear this one before the album was even named. I believe they were performing in Glasgow. I remember seeing this on YouTube. Serge’s message is, “It’s going to be tough without Tom, but stick around, and things will improve under me”. It’s more a song of assurance addressing the fans.

AE Sea:

Another pointless interlude includes the sound of the waves crashing. A moment of calm, if you will, on the record.

Letting Go:

The acoustic guitar makes an appearance to close out the album. A song of what’s been has passed. Serge talks about the past, referring to the old Kasabian and the future with him at the helm. He even brazenly adds at the end, ‘It just got better now’. When you hear this record, you will understand why. This is the new dawn, and it’s going to get better. Serge is taking Kasabian into another realm, and you want to jump on the spaceship for it.

Song recommendations: ‘SCRIPTVRE’, ‘ALGATYR, ‘STARGAZR’

8/10

Week 30: Jamie T- the Theory of Whatever

~ honestopinions19 ~ Leave a comment

I first heard of Jamie T in 2009 after hearing ‘Calm Down Dearest’ in a supermarket. I thought it was a good song with heartfelt lyrics, but that was about as much attention I paid to his music until 2010. I attended several Indie discos to find myself again after having woman trouble and needing to let loose, have some fun, socialise, and chat with other women in clubs. A song besides Phoenix ‘1901’ getting the absolute shit played out of it was ‘Sticks n Stones’. Now, I initially thought it was the Libertines or Babyshambles (I have no idea why. Carl and Pete sound nothing like Jamie.), so I scoured the internet to find it and saw it was by Jamie T. That’s when I started to pay attention to his music and sought out live performances. I also saw them when he was on shows like Later…with Jools Holland. The next time I would hear of him until recently was when he performed ‘Zombie’ on Later…with Jools Holland.

Jamie would disappear for some time after that, and since he seldom uses social media, it can be challenging to stay in the loop. People started asking questions in 2020, and two years later, he emerged on Twitter to let the music world know he was working on an album, and a release date was slated for the summer as well as a tour. In June, he would appear on the most recent series of Later…with Jools Holland, where he performed his classic ‘Zombie’ and two new songs, ‘the Old Style Raiders’ and ‘A Million One New Ways to Die’. Noel Gallagher, his kids, and Rita Ora would watch his headline set at Glastonbury on the John Peel stage as he closed out the Saturday. Noel, among others, is a fan of the London artist. 

The first thing that strikes you when you first see the album is the cover art of Jamie playing golf. I don’t know its meaning, but he is now 36, reflecting that he is more mature and wiser. However, that might contradict his closing remarks at Glastonbury, where he addressed the crowd with, “I don’t give a flying fuck anymore. Thank you for coming to see us, but it really makes no difference to my life. I couldn’t give a fuck. I’d play to an empty room, I don’t care.”

That’s quite enough of that. I am now going to proceed to a track-by-track review:

90s Cars:

Slow drumming over keys, stuttering vocals that stop abruptly. It’s a good backstory over a slow but great melody.

the Old Style Raiders:

This is a quintessential Jamie T song with rap vocals over guitars, an anthemic chorus, and his version of indie rock. As mentioned earlier, I first heard this on Later…with Jools Holland. It was also the lead single that Jamie used to tell us all that he is back and what we should all expect from the new album. 

British Hell:

A punchy song with riffs to match, where Jamie foretells about the shit storm created in Britain and how it has become hell. The title is quite apt with the shit and corrupt government currently in charge who makes the general public’s lives miserable.

the Terror of Lambeth Love:

Jamie doesn’t hold back and tells it how it is over synths. It is a quick and angry rant, which makes the short length of the track quite apt.

Keyring Lamborghinis:

The story depicts a female who is a menace to society. She ruins people’s lives by terrorising them and the borough. The synthesiser is utilised once again.

St George Wharf Tower:

I am still trying to decide what to take away from this track, and the video wasn’t any clearer. He is just walking with the tower of wealthy business people behind him. The song sees the acoustic make an appearance with the strings plucked. It is slow, quiet and calm. I guess this is the hangover track.

A Million & One New Ways to Die:

Again, this is another song I heard on Later…with Jools Holland back in June. There is no time to catch your breath with this one. Jamie goes all-in from the first struck chord, and you can hear his passion and anger. One of the many qualities that attract people to Jamie’s music is that no-nonsense attitude. The guitars and the riffs play at a searing volume with an intensity that keeps you pumped for 3:17. Certainly, one of my favourites immediately caught my attention when watching it performed on Jools Holland’s show.

Thank You:

This sounds like a song that Damon Albarn would write for Blur. The story appears to be about a black cab driver and the pitfalls of being one.

Between the Rocks:

This relates to the same ferocity you experience in ‘A Million & One New Ways Die”. I don’t believe anyone can rap at the speed he does over indie rock. I am yet to witness it, anyway. In this, Jamie thanks those who have stood by him during the times when he struggles with his mental health. He also states that he still has a passion for songwriting, even though he doesn’t need to keep being creative with his songwriting. He still has the will and drive to carry on, which is fortunate for him and all involved.

Sabre Tooth:

 It is a song rich in instrumentation. Guitars, drums, keys, you name it. A lot is going on instrumentally.

Talk is Cheap:

Jamie gets out the acoustic guitar again, bringing down the tempo and gently singing from his heart. This track is about karma. The leading character has done many bad things in the past and is now paying for them.

Old Republican:

Jamie sings about pushing away someone you now realise you long for over the keyboard. Another clever thing about the track is that as the character’s feelings grow more intense, so does the instrumentation, which you sense in the guitar and the keyboard.

50,000 Unmarked Bullets:

Jamie closes the album with a soft piano ballad, reflecting the character’s mood, which is falling apart as the romance in his heart slowly disappears. However, instead of the record ending on a melancholic note, the character has optimism and reassures himself that someone is still there for him to be loved by.

Song recommendations: ‘A Million & One New Ways to Die’, ‘British Hell’, ‘Old Republican’

9/10