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’
It’s great when I don’t have to do a little introduction of an artist/band. However, I was astonished that this is his 11th album, four years since he released “Love”. Unfortunately for Michael, he has been pigeonholed into Christmas. In September, which is the official build-up, Michael appears. My first review of one of his albums was last year’s first number-one. However, Michael has done virtually a covers record this time with two new ones thrown in.
I was wrong. It is four new ones that complete the 13-track album. Indeed, the lead single is an original titled ‘I’ll Never Not Love You’, an optimistic song about love surrounded by big band and swing that wouldn’t look out of place being performed by the Rat Pack. As usual, Michael has hit his audience. That’s what you associate with him with his silky and bombastic vocals. ‘Baby I’ll Wait’, written with John Mayer, sees soul and rock collide. Michael can blend his songs with the classics he puts on albums and effortlessly sings during live performances.
So far, I am talking about the original songs Michael wrote. I am not sure they were meant to be on “Higher” because the other nine tracks are covers. Let’s look at the title track. It has a Latino feel to it, wrapped around upbeat instrumentation. Then, the final original title is ‘Mother’. Funnily enough, it is Mother’s Day weekend, and how apt that there is a track by that title on this newly-crowned number 1 record. Of course, as you can tell by the title, Michael is paying homage to his mum, and the method used is a ballad. It is also refreshing to see that Michael is more than just a tremendous cover version singer. His work shows how talented he is.
I just remembered about another original: the second track, ‘My Valentine, ‘ done with the Beatles legend Paul McCartney.
Yes, it is a song about love, and if I remember rightly, he brings up Valentine’s Day, too. This track starts quietly before bursting into a big band and will be one to watch on the forthcoming tour. What surprises you most about Michael is his ability to record covers still and add originality to them. He has done countless covers, and you would have thought by now that he would be in a cul-de-sac, but no. He still has the knack.
Leading off from the covers section in the previous paragraph, He does a tremendous and jazz-inspired cover of Bob Dylan’s’Make You Feel My Love’. Meanwhile, Adele and Bryan Ferry kept it more in line with the original, which was melancholic. It is the best cover of the song I have heard and is my favourite. Michael has fun with it.
You can hear the smile through his uptempo vocals; as I mentioned, the jazz element leaves you feeling fuzzy. He also covers the late Patsy Cline’s ‘Crazy’ with Country legend Willie Nelson on guitar. I am sure they exchange verses, too, and Willie provides backing vocals.
The final cover I liked on the record featured in the latter half is of the late Barry White’s ‘You’re My First, My Last, My Everything’. You’d think this would be more soul, but Michael again has fun. This time, he puts a disco spin on it—an astounding change-up of sound on the album. Michael sticks to what he knows best for most of the record: big band and swing. However, he ventures into soul, a bit of country, jazz, and, more surprisingly, disco. There is no doubting his vocals, though. It wouldn’t matter if this album were panned because he has the vocals to nail any live performance. He missed a trick not releasing this in the autumn/winter because the tracks’ production and uplifting nature leave you feeling warm and fuzzy. I felt like I should have been sitting next to a log fire with my feet on a stool with a hot drink. I know it’s only March, but we are heading into Spring, and despite the rain outside, it feels warm. Michael missed a trick here on what is a splendid record.
Song recommendations: ‘Make You Feel My Love’, ‘You’re My First, My Last, My Everything’, ‘Crazy’
Here is a track-by-track review of Adele’s fourth album:
Strangers by Nature:
As you may have heard, before the record was even released, the primary subject was her divorce from Simon Konecki, which certainly comes across from the first listen. Adele foretells about the sheer agony of what divorce does to one’s psyche. The first track features strings as Adele sings lamentably about what happened. As the song climaxes, you can see the colour reappearing in her life after all that has occurred.
Easy on Me:
Ha! Unfortunately, the day this teaser single was released, I missed the premiere, and I didn’t go searching to hear it because I had the gist of what to expect from the track and the album. I am not alone. The single received mixed reviews, with some saying it was a new era and others saying it was the same old tired song we have come to know by her. So, what is a “typical” Adele track? It involves her beautiful vocals over a piano and the subject of being heartbroken. This track is exactly that. I never knocked her voice because it is impressive,but this song is your signature Adele track.
My Little Love:
Now, we are getting somewhere that is different with Adele. It’s the first song on the record that goes against the grain—a track drenched in soul. However, I found it somewhat disturbing as it featured interludes of Adele having a conversation with her son about how much she loves him, and through all the bullshit, it has been him who keeps her spirits up. It also explains why she left his father. I find that quite creepy, and it isn’t our business to know what Adele shares with her son. I believe a subject matter this deep should be done in private.
Cry Your Heart Out:
Another surprise on the album. Adele is now trying her hand at RnB. The melody is quite uplifting, even though the lyrics are dark. The backing vocals and the ivories tinkling add to the tune’s sweetness.
Oh My God:
An interesting take on her vocals here. They seem to hide behind the chorus when everybody knows her vocals are her most vital asset. It seems off-key to want your most critical asset to pale into the background rather than be the track’s focus. You can hear her vocal range during the verses, so I wonder why she decided to take the attention away from the chorus.
Can I Get it:
My standout on “30” as we hear an acoustic guitar for the first time since “19” (I think.). Before Adele was signed, she played an acoustic in most of her sets in the good old days. The last time I remember Adele playing an acoustic was on Later…with Jools Holland back in 2011. I am unsure if she played it on this track, but it is there nonetheless. It sounds as if Ed Sheeran was involved because it has that kind of technique. Maybe even KT Tunstall because she plays the same way. The drums follow the acoustic as Adele changes tempo as the track progresses. It is by far the most audio-pleasing song on the record.
I Drink Wine:
I am not surprised by the title going by what Adele used to be like before motherhood. However, the track is more about reflecting on her childhood and finding a way to leave her current situation in the rearview. The lyrics are pretty sad as she looks for the answers to take back control and live life with a sense of freedom as she used to when she was younger. The vocals are straight from the heart—the reason why Adele rocketed to fame in the beginning. I say “current situation”, but that has since changed. That is how she felt in 2018, at least.
All Night Parking ft Errol Garner:
Ah, dear. The one thing I cannot stand on albums. Interludes. All they are are fillers—nothing more, nothing less. I didn’t pay much attention for that reason. All I heard was a piano.
Woman Like Me:
As you already know, the record centres around her divorce, and this song follows that trend. This is Adele not knowing which way to turn (Of course, now she is with Rich Paul.) and letting it all out with us acting as sympathetic listeners.
Hold on:
Something that we have known Adele to do in all her previous records. I do not think she needs to write a book because her life has been covered in songs. However, as the track nears the end, there is a sudden change in tempo with harmonies and an orchestral sound that one would hear in the cinema. This piano ballad sees Adele put her story centre stage. It symbolises light appearing from the shadows in her life during that period and a reason to rise again.
To be Loved:
The lyrics “Let it be known that I tried” are heartbreaking. It is your typical Adele track, with her raw emotion displayed through her vocals and a melancholy message at the end. It is like she feels her love is never good enough. I don’t know how Rich feels, but it works fine between them now.
Love is a Game:
Not only is IT the album closer, but you sense it is also closure to the divorce. You might hear more about it on her next record, but I think she will have moved on from talking about this horrific ordeal. Adele seems to tread carefully regarding the matter of the heart, which sometimes impacts her future relationships, as she discusses in this song.
Song recommendations: ‘Can I Get it’, ‘Cry Your Heart Out’, ‘I Drink Wine’
Well, everyone knows who ABBA is without even knowing who they are. Now, I am not a fan, but there is no denying that their music is funky and uplifting. At some point, whether at a party, school disco or wedding reception, the DJ has always played at least one of their iconic songs. The band split up 40 years ago, but through the request of Anni-Frid Lyngstad and Agnetha Fältskog, Benny Andersson and Björn Ulvaeus put their differences aside and reformed the quartet for a tour and new album in the here-and-now.
The record is full of their signature sound, but somehow, they have managed to put a modern spin on it. That is what made “Voyage” enjoyable for me. I expected to hear the same old ABBA but was surprised by how modern yet retro the sound was. It is hard to describe precisely what I mean by this in words. You will have to listen to understand where I am coming from with that statement. There are even two songs based around Christmas, and my particular favourite off the album ‘Little Things’. It is a typical Christmas song with a children’s choir and all the other trimmings of a familiar, uplifting Christmas song. It will compete for the top spot for Christmas because this and the Lathumssong ‘Krampus’ deserve to be at the acme. When was the last time an actual Christmas song was at number one for Christmas?I can only think of the Darkness’ ‘Don’t Let the Bells End’ in 2004.
ABBA’s return has not been a damp squib as you find all four singers singing sublime harmonies with solid vocals. Whatever trials and tribulations they went through in the past have been put behind them as they appear as one on the record. Some bands struggle to see past conflicts, which can appear evident on the recordings of an album or even during live performances. Surprisingly, although the record does sound more modern yet retro with the melodies, the quartet has yet to succumb to the concept of using modern pop chart methods like including a rapper, auto-tune and those God-awful beats. For a start, ABBA has held back a track since 1979’s “Voulez-Vous” sessions. The track in question is ‘Just a Notion’; honestly, it was the only track I heard that seemed like ABBA of old.
You could say that the modern yet retro sound is down to their use of modern technology. Benny and Björn have relished the opportunity of noodling with the technology that wasn’t available to them in the year of their split (Obviously.). And the retro part? Most of their songs utilise the typical minor to major to minor key. I enjoyed their implementation of strings on ‘Ode to Freedom’, the final track of the album. It is utterly orchestral and a terrific and glorious way to sign off.
There is room for Celtic pop and a ballad about the environment with ‘When You Danced with Me’ and ‘Bumble Bee’, respectively. ABBA foretell about their return on ‘Don’t Shut Me Down’, one of their teaser singles released in September. The other is ‘I Can be That Woman’, a story about rekindling a love lost through alcoholism. The protagonist, portrayed by Anni-Frid, has overcome alcoholism and wants another chance. However, an argument occurs in front of a dog, and she is visibly frightened by the heated exchange. Indeed, Anni-Frid mentions in the lyrics that the female dog jerks every time the male swears at his former lover. Although the song sounds great, the lyrics are far more sinister. Now, you might need to pick it up or pay more attention when listening to the track because the instrumentation conceals the subject’s realism. Still, when you check out the lyrics, you will realise just how sinister the subject is. In a way, it is like the Police’s ‘Every Breath You Take’.
Another favourite of mine was ‘Keep an Eye on Dan’ (If you know why, you already know.). Another quite sinister track where a child called Dan (Again, obviously.) is being dropped off by his mother to spend time with his father as agreed during a custody battle in court. The mother appears anxious to let her son spend time with his father.
Indeed, as she drops him off, she drives around the bend, punching the steering wheel as her heart aches. It might not be evident during the vocal delivery, but the lyrics depict a mother who is angry, frightened and full of anxiety at the thought of leaving her son in the hands of her former husband/lover. ABBA has appeared as the master of disguising melancholy within uplifting melodies on “Voyage”. The graphic shows should be something else with the broad sounds and subjects offered.
Song recommendations: ‘Little Things’, ‘Keep an Eye on Dan’, ‘I Can be That Woman.’
I am going to do a brief track-by-track summary from Ed’s final album using mathematical symbols (Or so he says.):
Tides:
This track sounds akin to ‘Castle on the Hill’ from his previous and best album so far “, ÷“. I also felt it had a touch of Oasis, Sam Fender, and Bon Iver. You can tell by the subject that Ed has grown up as he talks about his family rather than being drunk or high on nights out. Some might say the title is aptly named as life has changing tides and our responsibilities become more.
Shivers:
This was the second single off the record and reached the top spot in the first week of release. This is more a track about Ed witnessing others having fun and enjoying life again as the world slowly opens up after the pandemic. The tempo is ideal for vibes on a night out with elements of uplifting dance.
First Times:
We became accustomed to this typical Ed Sheeran song before and after his debut album “+”. Ed once again picks up his acoustic Martin & Co Junior, telling fables about his life, from his success of playing out and controlling EE Stadium(Wembley)to his marriage to Cherry and the birth of his daughter. Strings accompany this gentle ballad, and has an Irish folk feel to it. After all, Ed grew up listening to the likes of Planxty.
Bad Habits:
Everyone wondered if Ed still had it after taking a sabbatical, but in the summer, he proved that when this track became the summer anthem. Originally, Ed had no plans to release this as the teaser, nor did he want it to play out as the record’s theme. However, Ed saw that people wanted to go out and enjoy themselves again after lockdown, so he tried to reflect that in the song.
Overpass Graffiti:
This uplifting track around synthesisers reminded me of Dua Lipa’s ‘Be the One’ from 2017. It even follows the same theme of Dua’s song: love. The track also has Bon Iver-Esque vocal overlays.
the Joker and the Queen:
This Piano ballad with strings about love reminded me of Bread’s ‘Make it with You’ and sounded briefly melodically like the Noisette’s ‘Never Forget You’. It also reminded me of the music in the 60s for some reason.
Leave Your Life:
Ed told Jools Holland that he wrote this song for his daughter so that she is always among his thoughts, even when he is on the road. It was also inspired after a close friend passed away. It features Ed beatboxing, a string sample looped during the verses., and how he remains faithful to his wife and daughter no matter how far away he is.
Collide:
It has shades of Jimmy Cliff’s version of ‘I Can See Clearly Now’ with its implementation of maracas and the drumbeat. There is a haunting keyboard effect, pan pipes. The sensation can be described as being under a waterfall in the African jungle, as Ed assures you everything will be okay. The outro brings in the piano. The track is a top-heavy production.
2step:
So far, Ed hasn’t rapped on the album until now, albeit he does it sparingly. This is like an Usher RnB beat with a looping guitar riff as Ed touches on love, the common dominator on the record.
Stop the Rain:
An acoustic track with electronic drums, a funky bassline and synths. Sounds a bit Latin too.
Love in Slow Motion:
Ed isn’t just driven by music anymore—an ode to his wife about making their marriage the utmost priority in his hectic life. The song features a mandolin and his trusty acoustic friend. The track sounds like a combination of the Goo Goo Dolls ‘Iris’ and the Corrs’ ‘Falling in Love’.
Visiting Hours:
Ed wrote this about his late friend, mentioned under ‘Leave Your Life’ by Michael Gudinski. Ed lets out his raw emotion as he laments that he won’t be able to share future experiences with his friend and that he wishes there were visiting hours in heaven to update Michael and still see him. Again, the song features acoustic accompanied by piano with a choir during the chorus, strings at the breakdown, and horns and synths.
Sandman:
I imagine this lullaby was created as a song to send Lyra to sleep instead of him reading her a story. The lyrics are delightful, with dreams of those beautiful things we let our vivid imaginations run away with as children. For example, Ed says, “A Snowman made of ice cream”…I mean, we all had mad dreams like that. The track features a xylophone (usually used for lullabies.), a ukulele, a tropical beat, strings and a music box. You can’t get any more lullaby than this.
Be Right Now:
The closer has pulsating drums, electronic piano, synths, and a New Order/Peter Hook-Esque bassline, and as it reaches the chorus, the tempo speeds up and sounds like a track by Georgia.
Okay. I lied. It could have been a more brief summary.
Song recommendations: ‘First Times’, ‘Visiting Hours’, ‘Love in Slow Motion’
Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades.
But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.
So, how was the concept of this record born? Elton wanted to do more than play family games and watch television,which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.
I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is.
Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.
I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.
If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would haveprobably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist RobertTrujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’.
Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm.
The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.
The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am goingto sum up the following shortly and sweetly:
‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.
‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song,making it spiritual.
‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t GoBreaking My Heart’ talking about their relationship through those 45 years.
‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimaginingof his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.
My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.
Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’
My introduction to Sam is becoming somewhat of a cliché if you read my reviews and how I appear to discover many artists/bands.Once again, it was through Later…with Jools Holland where one song he played stuck out. It was called ‘Dead Boys’ and was hard-hitting with its content, and I detected a sound used by a big American artist known as “the Boss”. Funnily enough, after delving for more information, I discovered that the young artist I had seen on the programme happened to be a massive fan of Bruce Springsteen and said that he was his idol. It’s appropriate that he is dubbed “the Geordie Boss”. It’s also funny that the Newcastle United fanatic has a surname after the guitar manufacturer. He also happens to use a Fender during his performances. However, he is no relation. Sam released “Hypersonic Missiles” in 2019, intimate about his personal life.This second album goes a littledeeper into his teenage years and howhe became a 27-year-old musician during his turbulent childhood.
Through those turbulent times of seeing his mother leave when he was just 8, being kicked out of his father and stepmother’s house, returning home to live with his mother, being talked out of selling drugs to help support his mother and being bullied at school for being obese, Sam has built a strong character through writing and playing and overcame those obstacles. He talks about having his heart shattered in a teenage relationship and how he pretended she was dead so that he could move on. He touches on the loss of his grandmother and writes from the perspective of his father, who hid away the pain, but Sam couldsee he was devastated. In the latter instance, Sam is akin to Stereophonics frontman and chief songwriter Kelly Jones, withthe ability to speak in the third person.
Sam now knows what category his music belongs in with this record. Anything from Bruce Springsteen-style rock ballads to upbeat punk, complete with vocals from the heart. It is almost weird to hear his Geordie accent when it comes through on the tracks. Sam’s vocals sound like any region or country does not define them. They appear to be from deep within his body. Sam is from working-class Newcastle and isn’t afraid to show those roots as he calls out those in power for destroying the livelihoods of the working class. Sam mentions protests and wealth gaps on the punk-themed ‘Aye’ among other political issues.
Sam even throws in some jazz on ‘Mantra’, which is more instrumental than vocal. There is a slow build-up over the verse on the opening title track before the drums make a bombastic entrance. More instruments enter the phase, as with the guitars that can be heard at the introductionand the drums after the verse. The chorus is strange; I couldn’t identify it because there’s no clear indication there is one or much of one. The song is a lyrically remarkable story detailing his life from school to adolescence. There is a horn section reminiscent of Bruce’s E Street band, but that should come as no surprise for Sam’s inspiration for starting as a musician.
My favourite might surprise most people who listened to the album. It is ‘Angel in Lothian’ where Sam wishesan Angel in Lothian would save him during his dark times growing up. He talks about how he felt hopeless watching as his mother suffered from the pain that rendered her unable to work. Still, he was too young to help her and how living in North Shields affected his older brother Liam, a singer-songwriter who plays drums and piano. In the final chorus, Sam again wishes an Angel in Lothian would fix the problems he couldn’t and that when he has his children, they won’t suffer the upbringing he had or even the same health problems.
Like his beloved Newcastle United, Sam’s career can only improve, and his stock in America will surely rise as they recognise the Bruce in this highly talented North Shields lad.
Song recommendations: ‘Angel in Lothian’, ‘Seventeen Going Under’, ‘Aye’
I will do a track-by-track review of the Script’s first greatest hits album. I might add that I was disappointed that my favourite track, ‘the End Where I Begin’, wasn’t featured:
Breakeven:
This was their third single off the self-titled debut album and followed a specific song theme pattern. However, this track was more hard-hitting and spoke about one person from a former relationship “falling to pieces” and not wondering what to do while feeling choked up when the other seemed to be “okay” about the breakup. Danny O’Donoghue’s melancholic and heartfelt vocals deliver this song with conviction.
the Man Who Can’t be Moved:
The music video tied in brilliantly with the lyrics and the theme. Again, taken from the debut album, this track was the second single and depicts a man who will not move from the corner of the street until the woman he loves shows up and feels the same way. Indeed, the man in the song asks people to tell her where he is. This indicates a metaphor for being in a relationship. While it might be falling apart, the man will fight to show his heart is still in it. Again, Danny’s vocal delivery makes the song believable.
For the First Time:
This track would be the teaser for their second record, “Science & Faith”, released in the late summer of 2010. It stays within the songs off their debut album. Indeed, it might have been written back in 2007 when they went into the studio but wasn’t quite ready to feature on a record. The track is similar to ‘Breakeven’ again. It is aptly named because they fall back in love like it was for the first time. However, this time, there is still a relationship ongoing, albeit in a dire state, but both are willing to act like adults to make it work, which happens by the end of the track. Again, the lyrics are about fighting to save a relationship with lyrics like “Oh, these times are hard, yeah they’re making us crazy, don’t give up on me baby”.
Nothing:
The second single off, “Science & Faith”, ‘Nothing’ showcased Danny’s vocals with the ability to be a swooner and blend thatwith his forte of being heartbroken at the same time. The guitar riffs and the piano took you to a place where the Script had yet to achieve on their debut.
Hall of Fame:
Taken from their 2012 and rightly named album “#3”, the band teamed up with Danny’s fellow mentor on the Voice and the Black-Eyed Peas member, Will.I.am. However, I am not a fan because, in general, I am not a fan of Will.I.am. He spoiled the latest Black-Eyed Peas album with that shitty software I can’t stand that alters your voice and makes it sound bloody awful rather than improving it. To think, Tupac was a fan of theirs back in the early 1990s. If Will weren’t on it, I would like it because, as usual, Danny’s singing and rapping are excellent.
If You Could See Me Now:
The third single from “3” is more about closure as the band discusses personal loss. Danny talks about losing his father on Valentine’s Day suddenly the previous year, and guitarist Mark Sheehan wanted the lyrics to include the loss of his mother after a long battle with a horrible illness a few months before Danny’s loss. Just listening to it, you could hear that the emotion was still raw and resonated with all of us when experiencing the feeling of losing someone close to us as well. A piano can be heard at the intro before Danny raps the opening verse. The tempo attracts your ear, and the lyrics make this a heartfelt song. The chorus is kind of catchy, albeit melancholic.
Superheroes:
The teaser for the 2014 album “No Sound without Silence”, Superheroes isn’t my bag, and I have never enjoyed the track. It just didn’t have that get-and-go like their songs do. They just seemed too safe sonically. Lyrically? They are up there with their best.
Six Degrees of Separation:
The second single from “#3” is a masterpiece. It perfectly explains what we feel after breaking up with someone we fell deep for. Bizarrely, despite the topic, it is quite an uptempo ballad. The chorus is where Danny’s vocals spring to life as he delivers the details with raw emotion, and surprisingly, it is catchy for such a thought-provoking track.
Rain:
This would be the teaser for the record, taken from 2017’s “Freedom Child”. Again, another song of theirs I am not a fan of. I was impressed by Danny’s falsetto, but I don’t know. The track just didn’t fit at all.
Arms Open:
The second single from “Freedom Child” again is lyrically beautiful. The message is that it doesn’t matter if you are alone when dealing with something because there will always be someone to hug you through the bad times. I found the song to be a traditional song for the Script, and the stripped-back sound elevated Danny’s vocals while the listener could relax and feel at one with themselves. It is worth checking out the video where the band worked with the charity A Sense of Home, which helps children find homes who are too old to be in foster care.
the Last Time:
The teaser off their latest studio album, 2019’s “Sunsets & Full Moons”, was released in November, a few months before all this shit happened across the world. As the title suggests, it deals with one of the lovers feeling like they are seeing the other one “for the Last Time”. The band sure knows how to draw the listener in with the relevant topics and the catchy melody, and of course, Danny’s vocals make this another great track by the Script.
Run Through Walls:
It is the second single off the aforementioned album. Once again, it was a brilliant subject and lyrics by the band. Just read this from thechorus; “I’ve got friends that will run through walls, I’ve got friends that will fly once called when I’ve got nowhere left to go, and I need my heroes, I’ve got friends that will run through walls”. Have you read them? Catchy as fuck, wonderfully executed with falsetto vocals, and what a beautiful message about the real ones who have your back and who are not related to you. The first verse addresses how true friends have saved his life (Whoever that is, I am not sure of because the band share ideas, melodies, and lyrics together.), and the second verse, the death of his mother, is brought up, and how the real ones were there and helped him through it.
Before the Worst:
The final single off the self-titled debut album again shows Danny’s vocal ability. It is about a boyfriend trying to return to the point of the relationship where everything was right and they were happy. The lyrics are typical heart-wrenching verses and choruses by the band. I also felt it sounded (in the chorus at least.) melodically like Kate Bush’s ‘Running up that Hill(A Deal with God)’. Yes really. Pay close attention to Danny’s delivery next time.
We Cry:
The teaser off their debut album, and as you have already worked out, the single that started it all. It caught your ears back in 2007 because there was no band coming out of Ireland who mixed guitar music with rapping (Sorry if I have made a mistake there. I think the rapper Redzer might have done that. I am not sure at the time of writing.), and that was refreshing to hear. Now, at the time, I listened to this song unconsciously, and my interest came in when ‘the End Where I Begin’ was featured on a FIFA console game soundtrack. The track has many different characters talking about their struggles, from a teenage single mother to a drug addict, et cetera. Danny described the melancholic song as people who are all experiencing hardships coming to cry together and, therefore, sharing the burden.
Science & Faith:
The title track off the 2011 album would be their last single. The song is up there as a fan favourite because it is a wonderfully composed love song. The lyrics are always the standout and why the band is well respected. It talks about finding “the one” and how, even though there are bumps along the way, you are destined to stay together until the end, which is quite a surprise from most tracks by the Script. I heard this song is written from Mark Sheehan’s point of view. Considering the song’s name, it all makes sense and falls into place.
No Good in Goodbye:
The second single from the 2014 album “No Sound without Silence” made my ears prick up. I love the wordplay used in thechorus and the metaphors in the verses. Again, the band touches on heartbreak and how to overcome it. The chorus was melodically similar to Duran Duran’s ‘Ordinary World’.
Never Seen Anything “Quite Like You”:
A surprise on “Tales from the Script”. This is the first and only track not to be released as a single. It is taken from the 2014 record “No Sound without Silence”. Many may disagree with me, but I heard elements of Ben Folds Five and fellow Irish band the Corrs. I could imagine Sharon Corr playing the fiddle and Ben on the piano. This love ballad is upbeat, and you can imagine this being played on St Paddy’s Day with everyone clad in green, stamping their foot, and clapping in time with the beat. Even the Script can write upbeat songs once in a while.
I Want it All:
It’s the exclusive teaser for this very album. The song contains all the elements associated with the band, and as usual, the lyrics stand out and pull away at your heartstrings. The music is sad yet subtle and goes along slowly, which is appropriate for an album closer. Danny’s vocals are once again on point even after two years out, and of course, the current climate prevents the band from touring all of last year and some of this year. His voice hasn’t waned during that period, nor have the band gotten rusty or lost their edge. Expect this one to feature in their live shows coming up shortly.
Song recommendations: ‘No Good in Goodbye’, ‘Never Seen Anything “Quite Like You”‘, ‘Run Through Walls’
Several years ago, I first heard Jack Savoretti (or Giovanni Galletto-Savoretti) in ASDA. Still, I only knew who it was when I went to the Victorious Festival in 2016, where Jack performed seven songs before Ash took the stage. It was sad to see Jack performing every drop of energy on stage as most of the crowd talked among themselves or headed to and fro the bars and food stalls dotted around the field. It reminded me of when I saw Ed Sheeran on his “Red” tour in autumn of 2011 at the His Master’s Voice Forum in Hatfield,where one of the support acts, Passenger, was performing on stage while the crowd mainly ignored him. It prompted Passenger to say, “Don’t mind me. I’ll just create an ambience while you enjoy your conversation like you were having someone round for a cup of tea”. Fast forward nearly two years after that, that crowd wouldn’t give him such disrespect when ‘Let Her Go’ was in the charts. Anyway, back to Jack. Yes, my friend and I werewaiting for Ash to come on, but we were one of a rare few who gave Jack the time of day. We listened to the majority of the artists and bands that day without ignoring them. It’s funny how the majority of people who gave Jack no respect that day will now listen to his songs.
I mean, he now has a number-one album, so something went right.
I liked this record for its Nile Rodgers-esque sound, but Jack has drawn inspiration from his time in Lugano and Genoa. Just like what I did for the Doves’ latest record, I am going to do a brief track-by-track summary:
I Remember us: It sounds like Europop from France in the 1980s.
Secret Life: Goes more into that disco-funk sound for which Nile Rodgers is known.
Who’s Hurting Who: Now, although it is a track that features the man Nile Rodgers himself with a terrific solo, I wasn’t overly impressed by it.
When You’re Lonely: This song sees Jack draw inspiration from his time in Italy with its tender piano and his velvety vocals.
More than Ever: This wonderful song is a sentimental auto-biographical ballad from his childhood in Italy.
Too Much History: Again, this track returns to that Nile Rodgers-esque sound with its uptempo disco-funk and Jack’s vibrant vocals. It is my favourite off the album and made me want to listen until the end.
Dancing in the Living Room: Another disco-funk track and once again uptempo, and yes, you will want to do what the title suggests.
Each and Every Moment: Right out of the 80s with its retro bass and uplifting tempo.
the Way You Say Goodbye: This has to be used on a cinematic soundtrack because it is apt to be played in that setting. The violins are heavenly.
Calling Me Back to You: Optimistic lyricism shrouded in energetic riffs.
War of Words: An emotional ballad that draws inspiration from the 80s to close the album.
As well as a brief track-by-track summary, I will end the review with my thoughts on the record; ‘Europiana’ is precisely what is necessary as we are still in these uncertain times; the upbeat nature of it fills your mind, body, and soul with the positivity that we all need at the moment. I found it odd because most of the album is highly inspired by Nile Rodgers and his disco funk, but he only produced one track. Cam Blackwood is the producer behind this beautiful record, and he has done a fantastic job of fusing both disco-funk and European music.
I enjoyed Jack’s latest album, even on the downtempo and more reflective moments. Honestly, this is his finest work, and I have no idea how he can better it.
Song recommendations: ‘Too Much History’, ‘Dancing in the Living Room’, ‘More than Ever’
My introduction to Wolf Alice was either in 2013 or 2014 on Later…with Jools Holland, and their punk attitude with a hardrock sound caught my ear. My favourite track of theirs at the time was ‘Moaning Lisa Smile’ (It still is funnily enough. I love the energy oozing out of it.)I can’t recall if they played that one on Later or if I heard it live at a festival, which made me fall in love with that track. Then, in 2018, they released “Visions of a Life”, which featured such tracks as ‘Beautifully Unconventional'(My favourite off of that record) and ‘Don’t Delete the Kisses’. They would receive a Hyundai Mercury Prize nomination in a strong field that featured the likes of Noel Gallagher’s High Flying Birds 2017 and third album “Who Built the Moon?”. The judges who voted chose “Visions of a Life” as their Hyundai Mercury Prize winner in 2018.
Ellie sang beautifully that Sunday night as they performed ‘Don’t Delete the Kisses’. Could Wolf Alice follow up on their Hyundai Mercury Prize-winning album? Some have failed, like the Klaxons and Gomez. The band had their work cut out this time to meet expectations.
However, Wolf Alice accepted the challenge of bettering “Visions of a Life” by employing the services of Markus Dravs, the man responsible for helping Arcade Fire redevelop their sonic outputs as well as Florence and the Machine. Many called this a bold move by Wolf Alice and a surefire signal of their intent; it proved just how brave they were to take a risk on this album and take them another step closer to more accolades.
What is brilliant about this album, and with such a great producer as Markus Dravs on board, is that the album becomes eclectic. If you are trying to understand what that means (Of course, the connoisseurs can sit this part out.), the album in question doesn’t just stick to one or two particular genres but visits a multitude of genres. Some might argue that this is a dangerous precedent; for example, Paul Weller’s “Fat Pop Volume 1” was released last month. Somehave criticised that record for being too schizophrenic with how it utilises several genres, but that makes a great album to me. Yes, of course, it is also lovelyto listen to a record locked on one or two genres, but the beauty of an eclectic album is your ear doesn’t know what to expect next (Well, on the first listen, at least.),so I applaud Wolf Alice for going in this direction. In the next paragraph, I will describe the various bands/artists I heard within the record.
Funnily enough, I contacted Ellie Rowsell on Twitter as I got to the final track and gave her my thoughts on “Blue Weekend”. I told her I found it dreamy and could hear the XX, My Morning Jacket, Lana Del Rey, Amyl and the Sniffers, Keane and the Temper Trap. That’s how vast sonically the album is. You have tracks such as ‘Play the Greatest Hits’, full-on punk, and you can hear Amyl and the Sniffers there. I mean, literally. If someone listened to this on a blank CD or sent you an untitled file, you would think it was an Amyl and the Sniffers track. ‘How Can I Make it OK’ is a rock ballad, then ‘No Hard Feelings’ is out of the Keane catalogue with its melchanolic sound, lyrics, and keys that TimRice-Oxley is synonymous with. The opening track,’the Beach’, is very dreamy and something the XX would do. The track makesyou visualise being on a beach as the waves crash gently upon the shore.
‘Delicious Things’ has to be one of the standout momentsbecause it is autobiographical to Ellie Rowsell’s life. In this, she addresses suffering social anxiety and being homesick while in Los Angeles, sleeping with a shady character who only seems attracted to her because of her status as the bandleader and taking drugs when others around her in Tinseltown are. Ellie describes the LA experience to the last detail with utter accuracy.
‘Smile’ is just Ellie telling you what she thinks of your views if you don’t like hers, and she does as she pleases. ‘Play the Greatest Hits’ will sound great live, too, with its full-on punk energy. This one will be great for the tour whenever permitted to commence.
‘No Hard Feelings’ brings the energy levels down on this break-up song with Ellie’s soft vocals, which has an excellent reference to the late Amy Winehouse by including her song title within the lyrics.
‘the Last Man on Earth’ is where the production of Markus Dravs starts to pay off. The track builds slowly from what appears to be a piano ballad but then builds to a grander sound as it progresses. It’s another track that will sound great when the album istaken out on the road.
“Blue Weekend” is a brilliant record with several genres packed into just over 40 minutes of listening. It’s the kind of album you won’t just listen to once or twice but the kind you will want to hear repeatedly. It may be a departure from previous material, but this is their best art to date. As the record ends on the dreamy ‘the Beach II’,your mind starts to wonder whether they will once again receive a Hyundai Mercury Prize nomination because this album is up there with “Visions of a Life”, if not even better. However, the record aims higher than just a Hyundai Mercury Prize. Look out for “Blue Weekend” at several highly regarded music award ceremonies within the following year.
Song recommendations: ‘Delicious Things’, ‘No Hard Feelings’, ‘Play the Greatest Hits’
Honest Opinions 