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’
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.’
