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’
After the 2017 album, “Beautiful Trauma”, this one would always have to raise its standards. P!nk has not had much success with her critics, who have mostly given mixed reviews, saying that her records lack the Punk we were introduced to in the early 2000s. That happened quite rapidly, as the first time we heard her, she was doing RnB, which attracted a fair few Garage producers to remix her songs. She has also been criticised for having children over ten years ago, being told that would ruin her career; P!nk believes that having children has made her more tender as an individual and changed her music style somewhat. As some people within her circle told her, it certainly didn’t end her career. She said before she had children, she felt alone in an industry where you spend most of your time in your presence out with the studio and touring.
“Beautiful Trauma” was given a challenging ride by her critics for being too conscious, the production, and her all-round maturity. Her previous album, “Hurts 2B Human”, which wasn’t as good as “Beautiful Trauma, was also panned by the critics because she spoke about her life as a mother and lacked a new perspective regarding the subject matters and the wall of the sound. They felt it was a typical P!nk record back in 2019.
“Trustfall” removes the chance of the critics jumping all over it because it is pretty experimental, ranging from ballads to dance. The record is quite reflective of her life so far. The opener is a track called ‘When I Get There’, which is a piano ballad, and her reflecting on her late father. It is my personal favourite on the album. Yes, it may be melancholic, but the tender notes and her delicate vocals make this a beautifully tragic song. A term I often use to describe my favourite Smiths song, ‘There is a Light That Never Goes Out’. P!nk released a teaser for the record called ‘Never Gonna Not Dance Again’, which takes us into the dance with an element of pop. The critics favour it, but for me, it shows a fun side to her. It’s Katy Perry-esque. The title track sounds like a club track that will fill the floor and get a pull-up. I recently heard Noel Gallagher talking about, as you get older within music, you have to try not to do “dialling it in”. He means it gets more difficult to do the kind of music you could do when you had nothing. P!nk hasn’t “dialled it in”, and you can tell she cared about this album and was dedicated to ensuring it was more than good enough to release.
‘Feel Something’ is another highlight of the album where she questions whether she was ever ready to be married and start a family and how all your demons don’t just disappear once you do. Another of my favourites features the Swedish sister duo First Aid Kit. The track is called ‘Kids in Love’. A country ballad where P!nk does the first verse, followed by Klara in the second, with sister Johanna providing backing vocals on the chorus. The song is quite reflective as she looks back on the innocence of youth and the naïvety of falling in love. There are a few more emotional moments from P!nk with ‘Our Song’ and the ill-tempered ‘Hate Me’. The latter is just a “fuck you. I don’t care what you think. This is who I am” track. Bringing it back to the days of ‘So What’.
I also enjoyed ‘Long Way to Go’ featuring the Lumineers. Quite an unusual song for the country band, as it is entirely out of their comfort zone, but the combination works. I have seen this record getting panned (No surprise there.), but I am in utter disagreement with the critics, because the album is incredibly diverse, and not your generic P!nk record. There is a lot of maturity on display, and she has proven she isn’t just the polar opposite of her rivals in the early 2000s. She leaves you pondering about life and issues based on reality.
Song recommendations: ‘When I Get There’, ‘Kids in Love’, ‘Long Way to Go’
As everyone who reads my reviews knows, I reviewed Sam’s last two albums, which were less than complimentary. Straight up, brutally honest about how they sounded the same as his debut. He left his comfort zone twice on the last record, and every song sounded like the previous. However, this time, I am pleased to inform you he has left his comfort zone when tackling new genres. He has, on the main, stuck with his usual falsetto vocals.
Sam has also changed his perspective on life since becoming happy with who he is, which is evident in the album. Yes, once again, it is conscious, but there are uplifting lyrics this time. He also has a few collaborations on the album with Ed Sheeran and Koffee, among others.
The record starts with ‘Love Me More’ delving into Sam’s love for Gospel. The lyrics themselves are pretty dark. I will now go into why the album has shown Sam a bit more diverse sound this time. First, I already mentioned the opener ‘Love Me More’. He dives into RnB with ‘Perfect’ and then into the disco-infused ‘Perfect, where he discovers how he has learnt to accept himself as whole.
The one that did take me by surprise was ‘Unholy’. It has a Grime quality to it, and to be honest, the song’s theme fits the music. Sam foretells about a family man who indulges in unprotected sex.
There are plenty of more RnB tracks or his usual piano ballads. This isn’t the best for me, but the disco floor filler ‘I’m Not Here to Make Friends’ is a standout on the record, and you can go right when you get Calvin Harris to produce the track. The great Nile Rodgers would be proud of this one.
My favourite, however, is something I wasn’t expecting as I’m not too fond of extremely short tracks. The title track is fucking excellent; Sam is accompanied by a choir, as each lyric elevates and reverberates around the church the song is performed in. The album closes with ‘Who We Love’, a soft and gentle duet with Ed Sheehan where they talk about giving you into your heart because it knows who we love.
Sam surprised me this time. I was impressed he experimented with other genres, and it made the listen fly by rather than dragging on.
Song recommendations: ‘Gloria’, ‘I’m Not Here to Make Friends’, ‘Unholy’
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’
I was incredibly pleased when I saw Derm get to number one. I have known him for a while now. He first followed me on twitter back in 2018 (I think.), and I have been pursuing the Dubliner’s career since. I was also proud to see him on the autumn edition of Later…with Jools Holland last month, where he performed ‘Dreamer’.
You’re probably looking at the title and wondering, “What the fuck is ‘sonder’?” I found while researching that it means “the realisation that each random passerby is living a life as vivid and complex as your own, ” which fits in with how Derm writes. He doesn’t appear to write from personal experience per sé but instead tells a fable that reflects the lives of his listeners, which is quite evident in most of his songs. Also, a lot of rappers can write from that perspective (I believe it is the third person perspective, but right now, I am writing while listening to Groove Armada, so even though I can still write this review, I am having brain fog on the exact term I am looking for.) Another songwriter who has a knack for writing like that is Kelly Jones of Stereophonics.
The album contains love, loss and optimism. Another thing I like about Derm is his vocal delivery. You believe what he is saying when he sings with an aching heart. I also like the way he can sing while his voice breaks. What do I mean by that “voice breaks”? Well, for instance, on ‘Dreamer’, which is quite melancholic, you can hear the tears as he talks about the subject. He isn’t crying, but the way he delivers it is like the individual breaking down and crying.
Although the record may be titled “Sonder”, there is no title track. The nearest to it would be ‘Something to Someone’, which, as you can tell, is about breaking up in a relationship. I suggest going to his YouTube and listening to the album through that route because videos accompany the songs, and you get a true sense of what the songs are about. There are some compelling videos on there.
Like most artists who have had a record out last year or so, this was done while in quarantine, and Derm perfects how everyone was feeling on ‘Better Days’. The leading single talks of having optimism that we will get out of this mess and look ahead to better days.
The album is what you expect it to be—polished production-wise and vocally. Derm is a superstar back home in Mother Ireland and spent the last year doing outdoor events. He will play London’s O2 Arena for the “Sonder” tour next spring. He is about to become a star all over Europe and the world. Oh, I almost forgot, the opener ‘Any love’ has a touch of Bon Iver to it, which is an exciting start, and as I like Bon Iver, I liked what Derm did.
Song recommendations: ‘Something to Someone’, ‘Better Days’, ‘Dreamer’
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’
You may recall sometime in 2020, I reviewed their third album, “CALM”, which was an acronym of the members’ names. So, instead of an introduction to who the band is, let’s begin the review of the Australian band:
I noticed that the band finally discovered their wall of sound and style. The beginning of the record is ‘COMPLETE MESS’, which happens to be the leading single. The song has a catchy chorus (Which is a perfect ingredient for a mainstream hit.)that you will find yourself singing along to long after you have ceased listening to the album. There is also a beat drop, which I haven’t heard utilised before.
Next up is my standout. ‘Easy for You to Say’. Thought-provoking lyrics over a piano. This song is about fleeing the nest and how hard it can be to leave the family home. The song is also personal to them as they mention Sydney, where they are from. So, it is also a song about them finding it hard to be away from Australia while they are on the road. They miss all the home comforts. For example, Rebecca Lucy Taylor, aka Self Esteem, told Jools Holland during an interview on his recent Later show how she misses all the little things like doing the laundry. They also say despite being on the road, they learn to grow as individuals become more mature and wiser.
The record is a blend of the old and new versions of the band. For some reason, they always remind me of Panic at the Disco or Alkaline Trio. I feel they are more in that ballpark, sonically. On ‘Best Friends’, they take a trip down memory lane and talk about the early days of their friendship and the band. Michael Clifford has a reminiscing tone, but there is no denying his vocals have grown stronger as he has got older and gained more experience in honing his vocals.
On ‘You Don’t Go to Parties’, you can hear a song that could easily slot into their debut album. Fans will also be propelled back to the past with ‘Emotions’, a song about being trapped in a dark moment with your emotions being uncontrollable that sonically could belong on “Sounds Good Feels Good”. ‘Moodswings’ also brings nostalgia, with all the members chipping in on vocals. Something that was absent when I listened to “CALM”.
Luke Hemming’s fianceé Sierra Deaton appears in the reflective piano ballad ‘Older’. You can hear how much they are in love with each other as they exchange verses about how they couldn’t grow old without their relationship. You can feel the chemistry on this one; it is a lovely refrain.
The final track I will end with is ‘Caramel’. This is apt; the song has layers which synchronise with the tastes we experience when eating the confectionery. The first layer is sweet, so in terms of the song, it is about the wonderful feeling we have during the infatuation stage of being in love. The second layer is salty/savoury, so in terms of the song, it reflects the harsh reality of the sweet and sour of a relationship and coming back down after feeling the rush coursing through your veins. It’s quite a melancholic track about a relationship fading away, with the tempo starting quick and gradually slowing down to reflect the nature of the topic.
It was beautiful to hear the trials and tribulations of Luke, Ashton, Michael, and Calum’s lives and their friendship on this album. Although every member has a turn at vocals, Calum and Michael are on most tracks. I loved the powerful lyrics and topics used, which show their more mature side, and the risk they took to experiment with new sounds. I enjoyed listening to the record and would highly recommend you do, too. Much better than their previous albums.
Song recommendations: ‘Easy for You to Say’, ‘Older’, ‘Caramel’
When I checked to see who was number one, I had no idea who the girl band from the Korean Republic was. Funnily enough, they came up in an Answer Smash on Richard Osman’s House of Games that same week. That was my first introduction to them (Safe to say, I didn’t get the answer because I had no idea who they were).
So, who are Blackpink? They are a K-pop girl band from the Korean Republic and the female equivalent of the highly popular BTS. The band consists of three members: Jennie, Lisa and Jisoo. They sing in both Korean and English. In 2020, they released their debut titled “The Album”. A usual title, but in all honesty, I wasn’t aware of it. According to the research I have done, the problem with their debut is that it became too overloaded with K-pop with no versatility.
So maybe it was a blessing for me to review their sophomore record because, from the first listen, it made my ears prick up. I must confess, when I heard they were a K-pop girl band, I wasn’t looking forward to listening, but it took me by surprise. The album has plenty of versatility from K-pop, RnB, rock, hip-hop, and the occasional piano ballad.
The album opens with ‘Pink Venom’, the teaser released several weeks before the record. The song appears to be heavily inspired by Rihanna and the late Notorious BIG. So, you already have RnB and hip-hop combined on the first track, complete with the band’s name chant.
The second track, ‘Shut Down,’ has a gunshot sound effect over violins and a heavy bassline. The standout performer in the track is Jisoo rapping, which appears out of nowhere.
You will learn that many songs are about female empowerment, and just like the opener, ‘Typa Girl’ follows the same path. You may think the song is sweet and innocent as it begins with a child-like synth, but no. It abruptly goes into a heavy piano, and that is then followed by silence. When the song returns, the members swap verses expressing empowerment. For example, one of the lyrics is ‘I bring money to the table, not your dinner’. A cutting snipe at the misogynists all over a trap beat—a song bombastic in production and lyrically.
So, the first part has plenty of attitude, so what about after the halfway point? We begin with ‘Hard to Love’, a piano ballad that takes a surprise turn and switches up into a disco beat. Well, more disco funk. The guitar part was Nile Rodgers-esque. ‘The Happiest Girl’ is probably one of their only melancholic songs on the album describing the need to be happy during tough times. ‘Tally’ brings the attitude over rock instrumentals, where the band stresses the importance of being yourself and standing out from the norm.
What else can I say about the record? Well, they have learnt from their debut (I still haven’t heard it. Just going by the research.). “Born Pink” is full of versatility, which always keeps the listener interested. I found the production and the band all on point. A sublime listen, and not what I expected. I couldn’t give a fuck if they are K-pop; this was brilliant.
Song recommendations: ‘Tally’, ‘Hard to Love’, ‘Shut Down’
8/10
NB: I appear to have omitted Rosé from the review. Sorry about that. There are four members.
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.
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’
Honest Opinions 