Acoustic

Week 37: Robbie Williams- XXV

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

Let’s begin:

Let Me Entertain You:

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

Come Undone:

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

Love my Life:

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

Millenium:

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

the Road to Mandalay:

Again, a pointless rework. The original is better.

Tripping:

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

Bodies:

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

Candy:

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

Supreme:

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

Strong:

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

Eternity:

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

No Regrets:

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

She’s the One:

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

Feel:

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

Rock DJ:

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

Kids:

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

Angels:

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

Lost:

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

Nobody Someday:

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

Lazy Days:

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

Hot Fudge:

I never liked it and still don’t.

Sexed up:

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

More than This:

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

Disco Symphony:

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

Better Man:

You’re better off listening to the original.

Home Thoughts from Abroad:

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

the World and Her Mother:

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

Into the Silence:

Again, another photo finish.

Angels (Beethoven AI):

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

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

7/10

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

Week 33: Kasabian- the Alchemist’s Euphoria

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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

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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

Week 27: Paolo Nutini- Last Night in the Bittersweet

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Paolo Nutini is like buses. Two come along at once. What do I mean by this? Since 2019, Celtic Twitter has enquired about where he was (Lewis Capaldi revealed late last year that they were in the studio working on Paolo's new album, which I am currently reviewing). Then, three years later, "Last Night in the Bittersweet" announcements were revealed, and a tour was announced. I wondered where he was, but I surmised he was busy recording new material. Hence, he is like buses. 

I have been a fan of Paolo's since his debut album, "These Streets". He was offering something different at the turn of the 2000s. No one appeared to make music like that, and it was only as we entered the 2010s that someone had a similar vocal style in Maverick Sabre. His debut was followed by "Sunny Side up" in 2009, where his fan base snowballed, which spawned the hits, 'Candy', 'Pencil Full of Lead' (Adopted by fellow Celtic fan and snooker player John Higgins up until 2020 as his walk-on song.), 'Coming up Easy', and the reggae-inspired '10/10'. My fondness for his music grew stronger after an appearance on Jools Holland's Hootenanny, where he performed '10/10' (among others.), and his falsetto vocals echoed those of the late Bob Marley. 

Funnily enough, I thought it was a cover of a reggae song, but to my amazement, it was written by Paolo. However, it sounds like a typical timeless reggae track. 

He followed up the highly successful "Sunny Side up" with 'Caustic Love' in 2014. Despite hitting the top spot, the album had mixed reviews and spawned fewer hits or accolades than its predecessor. 

Amazingly, "Caustic Love" is the predecessor to "Last Night in the Bittersweet". He was still touring until 2018, but that is some gap to wait for the fans to hear new material. That's a gap of eight years. You can understand why his fellow Celtic fans were asking where he was. This record also makes that eight-year wait worthwhile. Paolo is back with the drum banging loudly. It shows his versatility in turning his hand to anything from ska, reggae, country, indie, RnB and soul. His vocals vary across the sixteen tracks, so you get more than just that deep falsetto. 

For example, 'Through the Echoes' sounds like something you would have heard on his previous album, but 'Lose it' is a cross between Fontaines DC and the late Lou Reed. On quite a fair chunk of the album, many Lou Reed-esque songs are complete with spoken word, which Lou was known for. 

I first heard Paolo's new song in the recent series of Later…with Jools Holland, but I, unfortunately, cannot remember when writing what songs they were. However, they sounded different from what I had heard him do—Lou Reed-esque and with plenty of attitude. Seeing him with an electric guitar over his shoulder was also refreshing.

The same goes for 'Acid Eyes', another song wedded to rock, sitting nicely with Paolo's vocals over bombastic drums. I look forward to seeing some rockier songs added to his setlist on the current tour.

I told many of my peers to listen when I heard the album because it isn't your typical Paolo record. This album has attitude, punk spirit and rock n roll lashings. Even fleeting moments resemble the sounds of the Stone Roses, so Paolo returned to his musical influences as a teenager. 

It doesn't get much recognition because of his vocals, songwriting and mellow acoustic playing. Still, he is a good guitarist with the electric guitar and can match any lead guitarists who play to an excellent level (We are excluding the late Jimi Hendrix here), which is no more evident than on this record.

It has been worthwhile waiting for Paolo to release the successor to "Caustic Love". Sometimes, such a long wait leads to an anti-climax, but he has returned, and don't you know it? The songwriting, guitar solos, spoken word, vocals, topics, and instrumentation are fabulous. It is going to be extremely exciting to hear these songs performed live. I doff my cap to you, Paolo. It is an outstanding record, and if you produce the next one like this, you can release that in eight years, too.


Song recommendations: 'Lose it', 'Through the Echoes', 'Heart Filled up'

9/10

Week 24: George Ezra- Gold Rush Kid

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I first got into George when I was having my haircut in the summer of 2012 and heard his hit song ‘Budapest’. When I finally saw his live performance at one of the summer festivals in the same year, he reminded me of the grime MC, Devlin, but that’s few and far between regarding the review.

“Gold Rush Kid” is George’s third studio album. It is similar to his other two records. George has the knack of making his listeners feel upbeat and enjoy his albums, even if the songs are pretty melancholic lyrically.

Now, let’s get on with the review. The opener is called ‘Anyone for You(Tiger Lilly)’. Many have found this track their favourite, but not mine, even though it is the most upbeat track he has ever made. 

The piano melody reminded me of Vampire Weekend’s ‘Harmony Hall’. It was pretty much identical. The lyrics and the overall sound, though, are entirely different.

I’d like to know what his album teaser ‘Green Green Grass’ was inspired by. There has been an Only Fools and Horses spin-off by the same title, and Tom Jones also covered a song with the same title. I thought, “Hmmm. Is this a cover? or something else?”. It turned out to be the latter, but when I heard the vocal melody to the chorus, I couldn’t help but think that George had been listening to Noel Gallagher’s High Flying Birds play this or the original by Manfred Mann. The song I am referring to is ‘the Mighty Quinn’. Seriously, listen carefully. The vocal melody in the chorus mimics the song mentioned above.

The third track is the title track. I loved this song. It is exceptionally upbeat and has a simple melody to learn on any instrument. The chorus is infectious, and I will highlight some lyrics from the track that I found to stand out: “I have been playing rock, paper, scissors in the mirror, and there hasn’t been a winner for nine days straight”.

Of course, there are also moments of reflection that George is known for and his uptempo songs. George returns to his friend the acoustic guitar for ‘I Went Hunting’ and ‘In the Morning’. ‘I Went Hunting’ highlights the mental health issue with which George recently came out and said he struggles. George has a repeating lyric in the song, which is quite apt given that mental health sufferers tend to overthink things several times based on the anxiety and fear they are experiencing.

Another great song featured on “Gold Rush Kid” is ‘Sweetest Human Being Alive’, where George addresses the lady who will become “the one”. This song has to be one of his finest to date and is an incredibly profound love song. The lyrics are sublime.

Song recommendations: ‘Gold Rush Kid’, ‘Sweetest Human Being Alive’, ‘I Went Hunting’

7/10

Week 22: Liam Gallagher- C’mon You Know

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I remember when Liam promised us all a “Rock out with your chin out” album in reply to the mocking of his middle brother’s High Flying Birds albums (Or Low Flying Turds as he pathetically calls them), branding them “Songs you stroke your chin at”. Funnily enough, Liam has never delivered a “Rock out with your chin out” record, and he still hasn’t. This album is the same as the rest. They are like more sitting in the front room, stroking the cat on the sofa. It’s hard to believe that Liam used the “sore throat” excuse to get out of the MTV Unplugged with Oasis in the mid-90s. I wish I could find the quote from the book I read about that night when Noel took over vocal duties for the first time for an entire set (The second time would be in Dublin in 1997).

Unfortunately, I cannot locate the book at the moment, but it was known that Liam hated performing acoustic songs at the time. It’s quite funny when most of his songs like ‘Songbird’, ‘Pass Me Down the Wine’ and ‘Guess God Thinks I’m Abel’ are all acoustic songs written by Liam.

It’s pretty sad to see Liam letting his songwriting ability go to waste yet again when you consider that he has written songs like’ like ‘the Meaning of Soul’, ‘I’m Outta Time’, and ‘Ain’t Got Nothin’. He wrote these great songs in Oasis, so the ability is there. He doesn’t know how to use it. For “C’mon You Know”, he has once again employed Greg Kurstin, the Foo Fighters frontman Dave Grohl, and Vampire Weekend frontman Ezra Koenig. You would think the latter two would improve this record, but no. Dave and Ezra’s talents have been wasted. Yes, this has elements of Oasis, but also a sound more akin to the late Bo Diddley, but overall, it is lacking. The lyrical content is once again cringeworthy. I mean, it is a nursery rhyme level. When I heard some of the lyrics, I shuddered.

‘World’s in Need’ reminded me of the late Bo Diddley’s songs, but it doesn’t do his songs justice. The album has some good moments, like the Dave Grohl penned ‘Everything’s Electric’. However, Dave’s song is ruined by Liam’s nursery rhymes. Many complain about this album because Liam dares to experiment, but I welcome it. It is just a shame about the rest of it. 

Considering it was made in the studio, I found it surprising how ropey his vocals were. Usually, with the software available in the studio, you can make a person who cannot sing a note sound polished, so I was surprised to hear him sounding so ropey. Some won’t like this review, but I don’t care. The best thing about the record is if Liam wasn’t on it.

Ropey vocals and poor lyrics. However, the production is quite good. I would enjoy an instrumental version of this.

As for seeing him live? I would opt for Stop the Clocks if I wanted to see an Oasis tribute act. I am not interested in hearing Oasis songs (Mainly his brother’s, who he slags off at every turn)when I was there in the moment. That moment has passed. Would anyone go to see him if he didn’t perform Oasis songs? Let’s face it; his solo material is nothing to write home about. You might like “C’mon You Know” if you are a Liam fan. It certainly isn’t for you if you are not or casually listening.

Song recommendations: ‘Everything’s Electric’, ‘World’s in Need’

5/10

Week 20: Florence and the Machine- Dance Fever

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Florence and the Machine started as a duo in 2007, with Florence Welch on vocals and Isabella Summers on keyboards. They were initially called Florence Robot/Isa Machine before changing the name to Florence is a Machine before their first gig. Eventually, they settled on Florence and the Machine and turned it into a band rather than a duo. 

However, most mistaken the band as Florence’s solo project as the group bears her name. It would help if they said it sounds like a duo because Isabella is “the Machine”. I have heard many accounts where “the Machine” has been mistaken for Florence’s backing band. I first heard Florence and the Machine via a friend’s iTunes playlist in late 2008. I had never heard of the band, and he had ‘Rabbit Heart(Raise it up)’ on this playlist. I was instantly impressed with Florence’s vocal range on the track. Alas, I was disappointed with Florence’s live vocals when I saw them live at Glastonbury, iTunes, Oxygen, and Reading/Leeds that year. Don’t get me wrong, I still enjoyed the music, but those notes she hit on ‘Rabbit Heart(Raise it up)’ were far from what I heard on the studio version.

I don’t intend to make this a long review for their latest album, “Dance Fever”, because I am not sold on it. Plenty of the tracks have long intros or outros, making me think they plan on doing another short film as they did for their 2015 record “How Big, How Blue, How Beautiful”. I prefer that album to this. “Dance Fever” was made over the past two years during lockdown. From what I gathered, the record focuses on mental health, and Florence details it like talking to a therapist. This isn’t my reason for not liking it. The intros and outros were far too long.

The production is tame to what you have come to have known Florence and the Machine for. The production is split between Jack Antonoff and Dave Bayley. It is hard to write about one song because they seem to crash into each other. I enjoyed the bonus disc that featured four songs off the standard version acoustically and a track called ‘Search and Destroy’, which for me was the best track of the entire album, but it is a cover of the Stooges song.


Song recommendations: ‘Search and Destroy’, ‘Cassandra’, ‘Free’




6/10

Week 17: Fontaines D.C.- Skinty Fia

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As you might recall, I wrote a review of their second album, “A Hero’s Death”, by accident. As you know, I write a review for the number one album each week or whenever a new one is on the top spot. Well, this particular week back in 2020, the Irish band were on course for the top spot, but the previous number one held them off. However, I wrote a review on “A Hero’s Death” because it was more or less certain on the back of this information. I listened to the record, wrote my review a day later, and uploaded it the following day. It’s nice to know I will not need to do a bit of background to introduce you to the lads from Dublin. I will, though, do something I have yet to do so far.

As you know, I have done track-by-track reviews, summary track-by-track reviews, and plain old, elongated reviews. I will do essential track reviews on the tracks I enjoyed this time. The album consists of ten tracks. I will write a review, long or short, on the highlights of “Skinty Fia”:

In ár gCroíthe go deo: 

This track opens the album and translates as “In Our Hearts Forever”. It’s nice to see some Gaeilge used by a band, particularly from Ireland. It has been a while since I’ve seen Gaeilge used by Irish bands, unless it is Clannad or the like. This song is steeped in Irish history—the song protests against the English who invaded Ireland 800 or more years ago. The band’s instrumentalists provide backing vocals, repeating the track title repeatedly as Grian enters over a glum and sinister bassline. The song is based on the event of Maggie Keane, who wanted a Celtic cross with the track name inscribed on the headstone. However, the occupying British Army brought the Church of England over, which denied Maggie’s request. Their reason is that the message was written in the native language, which would lead to political connotations. Despite this, the Irish courts ruled in favour of Maggie’s family. The band felt the song epitomises how the natives still need to fight for their identity. From the outset, the band have decided to go political. If that makes some of you uncomfortable because they want to talk about the occupation of Ireland, then stop reading this review and give the album a miss. 


Big Shot:


As you may well know, the Dubliners have moved across the sea to London, and this song reflects that. Whereas Dublin still has opportunities to expand, the band’s move to London has opened up more avenues than were on offer back in their native Dublin. The band can pursue their dream of being the best by moving across the sea. For example, look at some of these lyrics: “I travelled to Space”, found the moon too small, and home is a pin, rusting through a map, I go there to pray, do my resting at mass”. What Grian is saying, from what I can decipher, is that they have travelled around Ireland, but it isn’t enough to achieve their dream. Despite being a big city, Dublin is nothing compared to the other cities they have played in worldwide. They only return to Dublin when there is a break during touring (Or the tour has ended.) and attend mass. The last line, I believe to be they only have time to reflect and relax away from music when they go to mass (I am also Catholic like the lads, and you feel far from relaxed at mass. It feels like you are in the dock listening to a judge telling you how guilty you are.)


Jackie Down the Line: 


Another political track. I will explain why briefly, but this song is the opposite of ‘Big Shot’. The band talks about why they are proud to be from Dublin (In the title sense, at least.). The song has an Indie 90s feel to it. “Jackie” is a variation of “Jackeen”. This is a derogatory term used by people outwith of Dublin. A Jackeen is someone who has become an “Irish Brit”. They have embraced the British culture and have become flag-wavers of the Union Jack. I first heard this track on the Late Late Show with Jimmy Fallon. It featured a steady drumbeat, acoustic guitar, and a reverb effect on Conor Curley’s electric guitar—a method used by his counterpart Edge from U2. The song talks about a woman named Sally, a toxic male killed. I haven’t looked into the case, but it highlights that there is still this problem of men attacking women in Ireland. Indeed, Grian’s vocals are melancholic. You can hear his soul slide away during the verses as he foretells the fable.


I Love You: 


So far, I haven’t heard anything like the punk-infused songs I had heard on their previous albums, and this track was no different. This time, the band took influences from Joy Division, New Order, and the Cure. It reminded me of a darker version of ‘Blue Monday’. Why? It wasn’t quite a dance track but had that Peter Hook bassline. I am sure I have seen Deego sporting a t-shirt of all the bands before now. So, it is no surprise he has added Peter Hook and Simon Gallup basslines. The subject revolves around the Irish youth, how they are shackled by capitalism and religion, how the lockdown has affected their well-being and the sinking feeling of what the future holds. At the same time, while trapped in this current situation. Grian’s delivery is spot-on for the subject. He delivers the vocals with ferocious anger as he addresses the issues and describes how he felt growing up in that situation.


Bloomsday: 


It leads off from ‘I Love You’ because it, too, is dark. This time, however, it goes even more profound and sinister. Again, over this gloomy instrumentation, Grian’s delivery is perfect. His lyrics sound like a man talking with a soft and melancholic tone. Again, Grian highlights the lack of hope for the youth in Ireland, particularly in his native Dublin.


Skinty Fia:


 As you can tell by the name, this is the title track. Does it move away from the previous two songs about Dublin? The answer is no. The song can be described as darkwave over a low bassline as Grian talks about Dublin’s shortcomings.


Roman Holiday: 


Unlike, let’s call it the Doomed Dublin trilogy, this song is more upbeat and has a message of hope. Once again, the guitar effect Edge uses is utilised by Curley over a stark bassline and fragmented percussion. The song is quite apt with the current war in Eastern Europe. It is about a couple moving to Dublin who can be welcomed and make it their home, which Ukrainian refugees have been doing in Dublin and all over Europe. Even though you are not from Ireland, you can still embrace it and have an Irish heart. I first heard this at Alexandra Palace on the current tour.


the Couple Across the Way: 


In one of the quieter moments on the record, Grian sings alone, accompanied by an accordion and piano. Grian tells the story of looking out of his window and narrating a typical day in the life of his neighbours adjacent. He has never spoken to them to find out their names or interests. He observes them argue, make up, and repeat the cycle daily. He opts to assume the role of one half of the couple as the song nears the end and the story becomes more straightforward.


Nabokov: 

The album closer has a Verve air about it. Like the Verve, the track is melancholic, but Fontaines DC adds a fast tempo, whereas the Verve would opt for a plodding one. For those of you who are learned readers, you would have probably detected the song title is by a novelist, and just like in one of Nabokov’s books, the character in the track depicts that of Lolita—a lady who no longer feels optimistic and is fed up with being downtrodden. The only way out of the situation to end the pain is to take her own life. That sentiment is expressed in the lyrics “I did you a favour, I bled myself dry, ” as Grian delivers it, seemingly depicting the character screaming angrily. Some might say it is a dark and sinister way to close out, but the band have never been one to abide by the laws. They have always gone against the grain and diced with danger, which has worked since they started playing. Unlike “Dogrel” and “A Hero’s Death”, “Skinty Fia” has been sobering to listen to, and the subjects on offer invoke all the emotions we feel. The record also goes deep into our imaginations.


Song recommendations: ‘Jackie Down the Line’, ‘the Couple Across the Way’, ‘Roman Holiday’


9/10

Week 14: Red Hot Chili Peppers- Unlimited Love

~ honestopinions19 ~ Leave a comment
I have no idea how I got into the Chilis; they just appeared out of nowhere. I just fell into them. I don’t know how. I just seemed to hear them everywhere I went as a kid. I don’t even know what track I liked back then. Anyway, “Unlimited Love” is their twelve studio album over a nearly four decades-long career. John Frusciante has also returned, and Rick Rubin has been called upon to help propel the band back to their peak years. 

The opener is ‘Black Summer’, which I believe is also the lead single because I saw the obligatory video on YouTube.John brings his signature solos, which the band and the fans have missed. It sounds like a track that belongs on their 2006 album, “Stadium Arcadium”, which is my personal favourite of theirs. The song title and lyrics in the chorus could be a nod to John because the band have been going through a “black summer” without his guitar licks and riffs. The second track leads off from the opener with Anthony Kiedis back to his best vocally. ‘Here Ever After’ also sounds like a classic Chilis song.

Flea’s turn is to showcase his talent on the funk-induced ‘Aquatic Mouth Dance’. However, the upbeat song feels like it was made as an Adult Swim track. What do I mean? I can see it being used in one of the shows on the channel or those little skits you see before the following programme. It was nice to hear trumpets and a saxophone, which I can’t recall hearing on many of their tracks.

There are acoustic moments on the record, but the songs lose meaning because they are too long. Especially ‘Not the One’, which is someone saying to their lover this isn’t going to work out because we are different.

Unfortunately, the downtempo doesn’t stop there as we head into ‘Poster Child’, ‘It’s Only Natural’, and ‘the Great Apes’.However, the latter does have a catchy chorus and is Anthony’s pro-wildlife song. He wants apes to have their freedom rather than be locked up in a cage for people’s enjoyment at the zoo. I can understand that and, therefore, like the message conveyed.

At the halfway point, a track called ‘These are the Ways’ brings controversy depending on your side. The track goes after the current climate in America. Anthony’s vocals are reflective during the verses, but his anger comes through during the chorus, and he attacks the current environment. This is Chad Smith’s best drumming showpiece on the record.

The album’s second half shows off the instrumentalists, and Anthony takes more of a back seat. Aside from showing off the instrumentalists’ skills, the album lacks any real punch after the halfway point. Yes, there are catchy songs, but no songs that stand out. I did like ‘Veronica’, which changes tempo between the chorus and the verses and has a nice story to tell.

I am running out of where to end this review, but another track that stood out because of the concept was ‘the Heavy Wing, ‘ where John takes lead vocals and plays guitar. The record ends on a mellow note with ‘Tangelo’, which features acoustic and, surprisingly, synthesisers. Unfortunately, this album blends in with most of their previous records. 

I didn’t notice anything significant in their tracks. All Rick did was bring them back to what they sounded like in their glory years. Apart from that, it sounded like any other Chilis album.

Song recommendations: ‘Veronica’, ‘These are the Ways’, ‘the Heavy Wing’

6/10

Week 10: Stereophonics- Oochya!

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




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


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




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


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




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




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




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


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




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




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




7/10