Those Damn Crows are often compared to Black Stone Cherry, but as you’ll see, I have a different perspective. The band from Bridgend, Wales, is making waves in the industry, particularly in America, where they’ve shared the stage with Queens of the Stone Age and Hollywood Vampires. Their sound has evolved significantly, influenced by these experiences, and their performances have become more polished. You might not have been familiar with this Welsh outfit until now, but this is actually their fifth album. The record delves into the personal journey that frontman Shane Greenhall has been on over the past year, a journey that has undoubtedly shaped their music.
Shane touches on searching for something that cannot be touched on tracks like ‘The Night Train’ and ‘I’ve Always been Unstable’. He is also apologetic on ‘Glass Heart’, which resembles power rock from the 80s. ‘Dancing with the Enemy’ is the opener and is reminiscent of Alice in Chain’s ‘Man in the Box’ during the chorus. The song itself is quite political and suggests we deserve to know the truth. Many songs ask questions about the world over: Biffy Clyro, Enter Shikari, and Bring Me the Horizon-style music.
Only a few songs had that classic Black Stone Cherry mark in ‘Dreaming’ and the closer ‘Still’. I failed to see the blues connection anywhere else on the album. ‘Let’s Go Psycho!’ features rapid guitar shredding with rapping, a bold departure from the band’s usual style. ‘No Surrender’ introduces driving drums, adding a new dynamic to their sound. ‘Turn it Around’ delves into the metal genre, and ‘Spit & Choke’ features fast bass playing over Queens of the Stone Age-esque music, showcasing the band’s versatility and ability to experiment with different styles.
While the band is primarily associated with commercial metal, they show a promising potential to explore other genres. Their track ‘Still’ is a testament to this, resembling the tender acoustic style of Black Stone Cherry. As a recent listener, I’m excited to see what the future holds for this band after their first commercially successful album.
Song recommendations: ‘Dancing with the Enemy’, ‘Let’s Go Psycho!’, ‘Dreaming’
Here is a track-by-track review of the band’s new material for a very long time:
Angry:
The teaser for the record is undoubtedly up-tempo and effortless. It reminded me of some of their songs from the 80s. More so with the riffs rather than Mick’s vocals, which never seem to change.
Get Close:
What I liked about this track is the band went rogue with this one and added a saxophone solo and harmonies that are hardly “a la mode”. However, I like all that avant-garde stuff, so fair play to them for not trying to follow the trend—the first of two tracks to feaure Elton John.
Depending on You:
It is a radio-friendly country ballad complete with soaring strings.
Bite My Head Off:
Paul McCartney (Who recommended they return to the studio for the first time in over a decade.) features on this punk-fuelled track. You wouldn’t know his presence on the track until Mick bellows, “Come on, Paul!”.
Whole Wide World:
Another high-energy track that discusses Mick and Keith addressing youngsters about the things to look out for before they grow old and wise.
Dreamy Skies:
This is the halfway point and the end of the A-side of the vinyl (if you happen to purchase it.). As you can imagine, as it is the final track on the A-side of the vinyl, the tempo eases to a plodding country ballad, yet instead of lulling you to sleep, it still maintains the energy enough to grab your concentration.
Mess it up:
The vinyl’s flip side, or the second half of the record, begins with an outro/intro to give you the sense of being involved in the recording process in the studio with the band. Disco is not their most robust genre for experimenting, but it works with the stomping piano thrown in at the breakdown—this is one of the final tracks to feature their late drummer, Charle Watts.
Live by the Sword:
This is the final track to feature his drumming, leading off from the Charlie Watts thing. It is fitting, then, that this is also another uplifting track with a vibrant piano riff. However, this one is less disco and more what can only be described as a nod to the late Elvis Presley with Elton John(second and final track.) providing the aforementioned vibrant piano riff. Although not lyrically strong, it is surpassed by Mick’s vocal skills and Elton’s dazzling piano playing. Don Was from Was(Not Was) is on production. Ex-bassist Bill Wyman also makes a cameo.
Driving Me too Hard:
It’s a quintessential Stones track with recycled riffs. One for the purists rather than the casuals who might find this “safe” and just a filler.
Tell Me Straight:
It was the first track to have guitarist Keith Richards take over vocal duties. His vocals suit this melancholic ballad. Surprisingly, you want this one to last longer because there appears to be beauty in listening to this. I like melancholic songs, which the Smiths and Noel Gallagher have mastered, so I’ll let you cast your aspersions here.
Sweet Sounds of Heaven:
A sublime track. With Lady Gaga singing and the great Stevie Wonder working his magic on the keys, it doesn’t feel like the Rolling Bones(Deliberate.)are on this in any way, shape or form. It’s quite surreal seeing the band cede control of their track. It is the longest, weighing in at over seven minutes. Although Lady Gaga soars with her vocal performance, what happens when Mick returns to duet is beyond words. This gospel-inspired song is just exquisite. My favourite by far.
Rolling Stone Blues:
We end the album with the cover ‘Rolling Stone Blues’ by the legendary and late Muddy Waters. This is the first time the band have recorded the cover, despite it inspiring their name. It is a comedown after celestial ‘Sweet Sounds of Heaven’, but it doesn’t feel inferior in the slightest.
Song recommendations: ‘Sweet Sounds of Heaven’, ‘Angry’, ‘Mess it up’
It was through watching Beavis and Butt-head and seeing Beavis wear the tee shirt I became intrigued as to who Metallica was. I have since fallen in love with ‘Nothing Else Matters’, ‘Mama Said’, ‘Enter Sandman’, ‘Seek n Destroy’ and ‘Sad but True’. I have also watched several documentaries about the production of “Master of Puppets”( their best album, in my opinion.), and Monster, which follows them during the highs and lows. A lot of arguments between the figureheads leading vocalist/rhythm guitarist James Hetfield and drummer Lars Ulrich (You know? He was once a vast talent in junior Tennis? Mixing it with the likes of Boris Becker. His dad was also a professional.). Quite a few of the documentaries put Lars in a bad light. He constantly shows up several hours after the band has commenced recording. I still think he is one of the best drummers alive, so he more than makes up for it. Anyway, the band sell out arenas and stadiums everywhere they go. They are also the main headliners at the creme de la creme of festivals. They have garnered many friendships with musicians across all genres. Even though Noel Gallagher doesn’t like their music, the band get on with him. Lars happened to do the lighting for Oasis on the “Definitely Maybe” American leg in 1995. Well, there is no better way to pay homage to this fucking fantastic band than to do a track-by-track review. I will also do a summary because, despite the fact I may wax lyrical on the tracks, the listen was wholly different in total.
72 Seasons:
One thing guaranteed with the band’s records is that you will get candid emotion throughout. The band do not hide behind a mask. The title for the title track is from a book James Hetfield read about from infancy to becoming 18, which equates to seeing 72 seasons in your lifetime. The book focuses on as you evolve, you find your identity and form your own opinions across a range of subjects rather than letting others choose your choices. This song is the audio version of it, albeit over heavy metal. Lead guitarist Kirk Hammett shines through, with James providing the emotional vocal delivery.
Shadows Follow:
Very similar to the subject at hand, but you can hear the tempo abating. It explores James’ time during rehab and how even stars like him are flawed, just like all of us are. The title is apt because even though we may fend off our demons, their shadows lurk, waiting to strike. According to bassist Rob Trujillo, this song has a Black Sabbath feel. I hear a typical Metallica song with a softer tempo.
Screaming Suicide:
This is the second single off the album and a powerful one. Although James may be talking about his experience in rehab, I also felt he was acting as a psychologist. What do I mean? He tells us all to show our vulnerability and confess that sometimes we have dark thoughts. As the song reaches the outro, James reminds us to keep moving despite those thoughts and that by doing this, we will win the war against the demons. As you may have noticed, this record focuses on James’ vocal delivery/songwriting and Kirk’s sublime axemanship. Usually, a lot of Metallica’s albums focus on Lars. However, he and Rob are ensuring the ship remains on course. Quite unusual not to see Lars featured as a figurehead on the record. Well, it is to me, anyway.
Sleepwalk My Life Away:
Kirk brings the bluesy feel to this with bombastic solos, which we have become accustomed to with him. Again, the track is focused on the songwriting.
You Must Burn!:
This is my favourite off the record, and Kirk’s axemanship blows you away. Looking at the lyrics and hearing the snarling vocals by James, you might think this track is quite sinister, but in a way, it isn’t. Yes, it has all of the aforementioned, but the more profound message is one of hope; Basically, it’s saying, “Fuck all the shit that makes you suffer. Enjoy yourself, and don’t let it get to you”. The production depicts that too. The track is downtempo before bursting into life with Kirk’s axemanship. Almost like from the deepest depths before seeing the light appearing on the horizon.
Lux Æterna:
Surprisingly, the shortest track on the album weighs in at 3:46. The leading single harks back to the band’s earlier days and is sure to be a hit with the fans on the “72 Seasons” tour, which is currently in progress. Talking to Metallica fans, when I mentioned that it was incredibly short for them, the fans were impressed with it.
Crown of barbed Wire:
Lars gets the spotlight finally, this time with Kirk complimenting him. This reminded me of when the band used to jam out and form a song from it. Something that gets lost when you hit the studio, rather than jamming out during rehearsals. It makes it organic.
Chasing Light:
This has the classic Metallica sound. A track that gets your body moving rhythmically throughout and heading to be a crowd favourite on tour. Again, Kirk’s axemanship is glistening. If it isn’t James, then it is Kirk.
If Darkness Had a Son:
Not a song for the faint-hearted. This one plays with your emotions and makes you feel uncomfortable. The track focuses on giving into ‘temptation’ (Well, from what James bellows out.)and knowing that the consequences could see your friendships dwindle, and how ‘temptation’ can cause harm to yourself. Another solid vocal performance by James, and of course, Kirk hitting with the solos.
Too Far Gone?:
James taps into his darkest emotions and how those demons play on his mind as he tries to find his soul. He explores how making mistakes that leave full of regret, and that is evident in the outro, ‘Too far gone, never too far gone, I’m too far gone to save, I can make it through the day, make it through the day, just for today’. As you can see, despite James expressing that he is damaged, he is optimistic he can survive another day. This would be a heavy listen if it were for something other than Kirk. Some may not like James talking candidly, but I like the idea of him sharing all this because it might make the toughest of their fans realise that we can be flawed and human. Many Metallica fans I have encountered seem to have a tough exterior, and we do not get to see the other side. The only human, so to speak, fans I know are the more casual ones like myself, who couldn’t give a flying fuck what makes a Metallica fan.
Room of Mirrors:
Another track for the excellence of Kirk Hammett.
Inamorata:
Someone informed me that is the longest track they have ever made. The track weighs in at 11:10 when I mainly see their live shows; it is short, considering how long the instrumentation and solos go on during the live performances. This time, the whole band takes turns to show off—a pretty fitting way to end the record.
Overall:
Last time, I reviewed Boygenius, and you may have concluded that the album was great, judging by the track-by-track review. However, I did say that that wasn’t the case regarding the record being relatively “tame” from what the band describe themselves as. Okay, I enjoyed “72 Seasons”, but it appeared chart-friendly and easier on the ear. Something I never associate with Metallica. They are always raw rather than polished. This record is more for the commercial side of music. Despite the heavy topics, listening to some of their previous albums this is much easier. A steady album that is polished. Too polished for Metallica.
Song recommendations: ‘You Must Burn!’, ‘Chasing Light’, ’72 Seasons’
Now, my family have always been one to watch Eurovision, no matter how crass the songs are. However, I became hooked in 2014. I felt the competition had upped its game. You were now getting more house and RnB-type songs. One year, there was even a drum n bass track by Austria or something like that. Anyway, Sam Ryder finished second (Should have been first.) behind Ukraine, who had a fucking awful song that wouldn’t have got a sympathy vote from the public if it wasn’t for the current situation. It would have finished last. ‘Space Man’ was by far the best song there. I don’t root for any nation, but Sam Ryder was robbed.
So, where did Sam come from? I didn’t know of him until he showcased his ” Space Man” song on BBC’s One Show. Friends of mine, particularly from Glasgow, filled me in on Sam and his popularity. Sam uploaded covers of popular songs to TikTok, where he gathered an off-the-scale following. I enjoyed the song, so I was looking forward to what his album would be like.
Despite his recent rise, Sam has been familiar with music. He fronted some bands, did busking and wedding receptions. He also had his own Juice bar business.
What I liked about this record is the number of influences in his songs from Sam Fender, David Bowie, Elton John, Sum 41, AC/DC and club music. The opener is ‘Deep Blue Doubt’, and I couldn’t help but feel a Sam Fender-Esque vibe going on. The song could easily be mistaken for Geordie Sam from the instrumentation to the vocal delivery. It is my personal favourite off the album. Already a solid start and a twist of what to expect. This certainly sounds different from ‘Space Man’. The Fender horn section was missing from ‘Deep Blue Doubt’. ‘Somebody’ taps into Sam’s inspiration for funk. If I remember rightly, I thought while listening to the track; it reminded me of Nile Rodgers and Chic.
‘Tiny Riot’ is aptly named and an intriguing listen. You have the presence of Bring me the Horizon, but if they performed soul. I do not remember Bring Me the Horizon ever doing that, but this would be the result. Olly Sykes could also carry it off because of his vocal range.
‘All the Way Over’ is the first real reflective moment as he performs a piano ballad, which showcases his vast vocal range, complete with a bombastic outro featuring an orchestra. He then goes into A Day to Remember mode. Not the band at their rockiest, but more the quiet and gentle acoustic moments for his mid-tempo ‘OK’, so even though he does pick the tempo up, it is only slightly.
You may be wondering why I mentioned the late David Bowie; it’s more to do with ‘Space Man’ and Sam’s fascination with all things in the cosmos. The song is laden with space references, and David did this during his Ziggy Stardust period.
Once again, Sam has added another layer to the album. ‘Put a Light on Me’ gives you a false impression as you hear the guitar at the intro before bursting into a club dance floor filler. I, for one, was surprised to find club tracks to feature. Even if this isn’t your cup of green tea, the hook alone will suck you in.
‘Whirlwind’ wouldn’t look out of place at the Grand Ole Opry. We go from one extreme to the other as Sam brings the tempo down to a folk ballad with excellent fingerpicking on the guitar, either by him or a session musician (We will have to wait for the tour to find out.). He slightly ups the tempo with ‘Ten Tons’, where he blends funk with a piano. The vocals appear to be Sam channelling the late George Michael. The song goes in the blues direction during the guitar solo. Again, who performs that? We know Sam can play the guitar, as witnessed at Eurovision.
Sam shows even more vocal versatility as he taps into the Lumineers/Mumford and Sons/Of Monsters and Men section with the uptempo and country pop ‘More’. The tempo then drops to another folk ballad, this time with ‘Crashing Down’, which is quite apt when you consider the title, and the context. He follows that with ‘This Time’, an upbeat blues number.
I will close this review with ‘Living without You’, my second favourite, and the record closer Sam goes full-on club with this. David Guetta and Sigala feature, and I cannot see this not filling the dance floors whenever it is played. It is so uplifting—a brilliant way to end a versatile album. Sam may have been on Eurovision and a TikTok star, but he is no passing fad. Sam has proven now he is in the door; he plans to stay around for a long time.
Song recommendations: ‘Deep Blue Doubt’, ‘Living without You’, ‘More’
I remember when Liam promised us all a “Rock out with your chin out” album in reply to the mocking of his middle brother’s High Flying Birds albums (Or Low Flying Turds as he pathetically calls them), branding them “Songs you stroke your chin at”. Funnily enough, Liam has never delivered a “Rock out with your chin out” record, and he still hasn’t. This album is the same as the rest. They are like more sitting in the front room, stroking the cat on the sofa. It’s hard to believe that Liam used the “sore throat” excuse to get out of the MTV Unplugged with Oasis in the mid-90s. I wish I could find the quote from the book I read about that night when Noel took over vocal duties for the first time for an entire set (The second time would be in Dublin in 1997).
Unfortunately, I cannot locate the book at the moment, but it was known that Liam hated performing acoustic songs at the time. It’s quite funny when most of his songs like ‘Songbird’, ‘Pass Me Down the Wine’ and ‘Guess God Thinks I’m Abel’ are all acoustic songs written by Liam.
It’s pretty sad to see Liam letting his songwriting ability go to waste yet again when you consider that he has written songs like’ like ‘the Meaning of Soul’, ‘I’m Outta Time’, and ‘Ain’t Got Nothin’. He wrote these great songs in Oasis, so the ability is there. He doesn’t know how to use it. For “C’mon You Know”, he has once again employed Greg Kurstin, the Foo Fighters frontman Dave Grohl, and Vampire Weekend frontman Ezra Koenig. You would think the latter two would improve this record, but no. Dave and Ezra’s talents have been wasted. Yes, this has elements of Oasis, but also a sound more akin to the late Bo Diddley, but overall, it is lacking. The lyrical content is once again cringeworthy. I mean, it is a nursery rhyme level. When I heard some of the lyrics, I shuddered.
‘World’s in Need’ reminded me of the late Bo Diddley’s songs, but it doesn’t do his songs justice. The album has some good moments, like the Dave Grohl penned ‘Everything’s Electric’. However, Dave’s song is ruined by Liam’s nursery rhymes. Many complain about this album because Liam dares to experiment, but I welcome it. It is just a shame about the rest of it.
Considering it was made in the studio, I found it surprising how ropey his vocals were. Usually, with the software available in the studio, you can make a person who cannot sing a note sound polished, so I was surprised to hear him sounding so ropey. Some won’t like this review, but I don’t care. The best thing about the record is if Liam wasn’t on it.
Ropey vocals and poor lyrics. However, the production is quite good. I would enjoy an instrumental version of this.
As for seeing him live? I would opt for Stop the Clocks if I wanted to see an Oasis tribute act. I am not interested in hearing Oasis songs (Mainly his brother’s, who he slags off at every turn)when I was there in the moment. That moment has passed. Would anyone go to see him if he didn’t perform Oasis songs? Let’s face it; his solo material is nothing to write home about. You might like “C’mon You Know” if you are a Liam fan. It certainly isn’t for you if you are not or casually listening.
Song recommendations: ‘Everything’s Electric’, ‘World’s in Need’
I have been a fan of the Phonics since their first appearance on CD: UK(Countdown United Kingdom) in 1998 (I think.)Performing ‘the Bartender and the Thief’. The first thing that struck me was the guitar of the frontman and chief songwriter, Kelly Jones. A red Gibson SG. The only other person around the latter end of this Indie mad era I can recall using one was Paul Weller. That was the only reason I watched the performance on that early Saturday afternoon in the first place. At that time, plenty were in circulation due to Oasis making it ‘cool’ again. However, Kelly’s raspy vocals stood out; I found them different from the bands around then. Most of the newer bands tried to be Oasis, but thePhonics with Kelly’s vocals were pathing their own way to notoriety.
Amazingly, they have amassed twelve albums from their debut, “Performances and Cocktails”. Their debut produced hits such as ‘Just Looking’., ‘Hurry up and Wait’, ‘the Bartender and the Thief’, ‘Pick a Part that’s New'(My favourite.), and ‘I Wouldn’t Believe Your Radio’. Anyway, that’s off track. Let’s talk about their current record, “Oochya!”. The cover is the first thing that caught my attention, and it resembles Green Day’s 1994 album “Dookie”. The opener is ‘Hanging on Your Hinges’, which sounds like it was recorded live in the studio. What do I mean by this? Well, bands like the Phonics back in the 90s and years before used to record a performance rather than the method used today of stopping and starting to edit out mistakes. Everything was recorded in analogue back then, which would be a pain in the arse to edit because you would have to cut segments of the tape. This is why bands and musicians from the analogue decades are masters. They mastered the ability to record performances with minimal mistakes. Indeed, it made them sharper and tighter when performing on tour.
Apart from that, I noticed that the band didn’t resemble their usual sound. Almost immediately, I noticed a rather LCD Soundsystem song. I enjoyed it, but it left me intrigued about where the album would go next. I was expecting a grand Phonics-esque entrance.
However, over the remaining 14 tracks, the record trends common ground. So far, it is one of the longest albums I have heard this year, clocking in at 64 minutes and 12 seconds. The band are back to what you heard on “Performances and Cocktails”. Some have said it is a bit long, but I enjoyed that the Phonics returned to their electric guitar-laden roots. The records of late have been full of ballads and have been on a more reflective side. Although most of Kelly’s songs are quite cynical, the bombastic instrumentation gives it an upbeat feeling.
Kelly’s good friend Noel Gallagher is also a master of pulling that off. Something they both would have learned from Johnny Marr.
Of course, the album has some slower-paced tracks like ‘Right Place Right Time’ and ‘When You See it’. The latter is better for its resemblance to ‘Have a Nice Day’ with Kelly’s raspy vocals, the carefree yet melodic strumming of the acoustic guitar, and the steady drums to give the song flesh around the bones.
Like every band trying to capture past glories, “Oochya!” doesn’t quite get there. We associate Kelly’s vocals with raspy and rough, but on this, he does change tact, like on ‘Running Round My Brain’, where he changes up to Blues. It almost sounds like a song associated with the likes of Cody Johnson (A country star for those unfamiliar.)After all, it is challenging to find that winning formula you started with.
Again, even though recorded live, ‘Don’t Know What Ya Got’ stays on that Country path, remaining chilled out and with a Stereophonics originality, which lies solely with Kelly’s vocals.
The band probably sounded like any band then, but Kelly’s vocals stood out.
Apart from that LCD Soundsystem moment, the band are trying to re-capture what they had on their debut rather than moving forward. Now, this is good and bad because the good is there are no shit songs or songs that much out of place, and the bad. After all, they have yet to try to flirt with new concepts. I love the Phonics, so this is fine with me. I know they have experimented before, so as the Embrace song title says, “Come Back to What You Know”.
Song recommendations: ‘Close Enough to Drive Home’, ‘When You See it’, ‘Hanging on Your Hinges’
I have waited ages to listen to and review another Paul Weller album. I was delighted to have found out that he worked on it during the original lockdown. Paul told Charlatan’s Tim Burgess that he was bored and needed something to do. He also told Tim this might be his final album (let us hope not.). It’s great that some artists took the opportunity to be productive while isolated last year. Funnily enough, just as he started work on this one, his previous record, “on Sunset,” was not far from being released. The album begins with ‘Cosmic Fringes’ which sounds like electro-pop straight out of the 80s. You know, bands like Roxy Music, Heaven 17, or the Human League would have done. The end catches you by surprise because it stops without any warning. That sudden ending would last until the third track. From then on, the tracks would fade out.
‘Glad Times’ was like Paul went into a time machine and returned to the studio with the Style Council, and ‘Testify’ is a blues and gospel track with flutes. ‘Cobweb Connections’ is a sublimeacoustic song, and ‘Moving Canvas’ is like hearing Paul playing songs from the “Stanley Road” era. I didn’t find much Jam-inspired music in there, though.
The album is just a mix of several genres; younever know which way Paul will take you with it, which will keep your ears entertained. It’s great when a record is made that way. You don’t want a predictable album; you want something that will surprise and differ from the track you just heard to keep your interest. The cover and the name certainly had me fooled. I was expecting an album full of cosmic pop or psychedelic. Even the title “Fat Pop (Volume 1)” screams that the record will be focused on those two genres. It’s more like a trip down memory lane with influences from the Style Council, the Paul Weller Movement, and everything after 1992. As I said earlier, I didn’t notice anything the Jam might have done. It also has Volume 1 at the end of the title. I would like to know what volume 2 will be like.
Now, as I said earlier, the album is spontaneous and will keep your ear, but at the same time, if you do not find that concept interesting, you might lose interest as it might start to annoy you.Personally, that’s on you because it didn’t annoy me in the slightest. I loved the way the record was spontaneous. If you enjoy dipping your fries into your Strawberry milkshake (Thanks, Siân. Watch this space on her. She might well be presenting a radio show soon, and trust me. Her taste in music is eclectic.), then you will enjoy how this album works. Many may argue that the tracks on “Fat Pop (Volume 1)” simply do not work without structure due to its spontaneous nature. Well…I liked it, and it’sentirely different from a Paul Weller LP.
Despite how the album is structured, either to your satisfaction or not, there is no denying that Paul still has that fire burning to be creative after a 44-year career. One minute, Paulis in the 60s playing with the Rolling Stones, and the next, he’s back in the Style Council with songs like ‘Glad Times’. That is how Paul approached every session with spontaneous songwriting. It certainly makes for an exciting experience when you listen all the way through for the first time. You cannot knock it because Paul Weller is far from finished with business despite what he told Tim. How many albums are there left in him creatively? Who fucking knows. Going by this, he still has plenty more on the way. The only thing stopping Paul is if he decides to retire of his own accord.
Song recommendations: ‘Glad Times’, ‘Cosmic Fringes’, ‘Testify’
This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound.
Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines,among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.
The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix(Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night).
Tony Hoffertravelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a moreprofessional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.
‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.
I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen toit now. However, I like a good story in my songs, and this one is no exception.
Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of anautobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhatblurred)and having hopes and dreams of making it big withtheir music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.
It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.
Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”
Ben was among my first followers when I joined Twitter in 2009 (THE first, if I remember correctly.). I remember seeing this long(ish)brown-haired fellow with a guitar…of course, I instantly followed when I saw he was in the arts, and I can’t remember if he inboxed me, but I remember a link to his latest song was involved and he asked me to give it a listen. Little did I know, he was on television the previous year, but I didn’t watch the programme about showcasing up-and-coming talent. It was now some defunct channel on Sky under the music package (Entertainment package?), which introduced me to plenty of up-and-coming talent like Chip, who was then known as Chipmunk and was still a teenager. The channel in question was either called Muzik or FlashTV. The show Ben would have been on was filmed weekly from the Old Oak in North-West London. After hearing the song in question, I became a follower of his music as I was very impressed with his melancholic vocals, guitar playing, and songwriting ability. Unfortunately, he has flown under the mainstream radar because he isn’t known as much as someone like Ed Sheeran. Ben is more on the same commercial level as Ed’s mate, Passenger.
However, Ben is highly talented. It seems unfair that he has largely gone by in the commercial market.
Unlike Ed, Ben likes to stay with familiarity, which has probably seen him less prominent. However, the RichmondSongwriter’s debut album “Every Kingdom” in 2011 did have platinum sales.
Ben is about to get more adventurous as this record is more like swimming with sharks outside a protected cage rather than having the security of being inside one. The album reminded me of the late John Martyn’s work with its roots in soft Jazz. Aaron Dressner,who plays the guitar for the National, has encouraged Ben to take a leaf out of their book. Indeed, the National is known for loops and many guitar effects, which can be heard on this record. So, it was the correct decision to get Aaron on board to push Ben artistically.
Of course, Ben hasn’t strayed that far from his subject matters of conscious stories either of his own life or what he has heard during conversations, from individuals, places he has been, or simply by watching television or reading, and of course,based upon his imagination. The stories range from a conversation with a friend who found a dead body in a suitcase floating down the Thames, the death of a sailor and Anna Sorokin, the Russian fraudster. So, a lot has stayed the same regarding the type of songs he writes and the lyrics.As you can see, Ben is still on heavy and gloomy subjects.
Despite new ideas dreamed up with Aaron, Ben does go back to what he knows with “What a Day”, which draws familiarity with tracks off “Every Kingdom”, his debut record. Even though Ben has taken a new direction, he has managed to make the simplicity of his songs come to life on this album, which shows on “Metaphysical Cantations” or “Sage that She was Burning”. “Buzzard” is quite intriguing. By far the shortest track on the record, weighing in at just 56 seconds. I like how Aaron and Ben have got the guitar to ape what the bird sounds like. Could it have been longer? I can’t see why it couldn’t have been at least another minute or so.
“Follies Fixture” is my favourite track and surprised me with its soft Jazz and melancholic lyrics. Like I said earlier, most of the album had a John Martyn feel,and I noticed this track opens the record. I may have said “Buzzard” closes the album, but on the deluxe version, there are edited versions of “What a Day” and “Sorry Kid”. I want Ben to pick up the electric and release his inner rock star on his next album. I hope that by working with Aaron and conjuring up original ideas to make the songs stand out more sonically, Ben can get the recognition in the mainstream, which he deserves because he is more than easily a match for the other acoustic-wielding songwriters and musicians.
Song recommendations: “Follies Fixture”, “Sorry Kid”, “What a Day”
I have never been a fan of the Bee Gees,and I didn’t care much about their soundtrack for the 70’s film Saturday Night Fever. However, I have always held Barry Gibb in high regard; he is a genuinely fantastic songwriter, even if the music may not be to everyone’s liking. Barry has always been a massive fan of country, and I am not in the least bit surprised he has written for such icons in that genre as Dolly Parton and the late Kenny Rogers. This album is for Barry and what he likes. It is predominantly country with some soul chucked in with various guests renowned in the music industry.
Now, I know I said I don’t like the Bee Gees. Still, Barry, flanked by producer Dave Cobb, has given the back catalogueby the band that featured his late brothers a lease of new life with the songs reimagined. You might forget what the songs are like in their original guise because they are suited wholly to country. Barryreturns to the music that inspired him when he lived in England and Australia, respectively. He has delved into country, bluegrass, blues, skiffle and added some soul tracks to the mix.
You have Brandi Carlile bringing a more aggressive approach to “Run to Me” (One of my standouts on the record.).Then Jason Isbell (Another artist and guitarist I highly respect along with his wife Amanda Shires.) brings an almost church-likepresence to “Words of a Fool”, but Barry’s distinctive falsetto vocals still rise above all else on the album. Ofcourse, you have Dolly Parton, Keith Urban, and other icons on the record, but another track that catches your ear is“How Can You Mend a Broken Heart” featuring Sheryl Crow (I can’t help but feel Al Green was overlooked for this. He has donea stunning rendition of the song.).
Yes, it is a Barry Gibb album with him having the majority of the spotlight; however, it isn’t always that way, and in some tracks, I have highlighted in the paragraph as mentioned above, Barry lets Brandi and Jason take over with their vocals on those individual tracks, and blends in like he was an instrument overDave’s lavish production. Even afterall these years of sharing vocals with his late brothers Robin and Maurice in the Bee Gees, Barry still is very democraticwith vocal performances, even though this is his record.
Song recommendations: “Run to Me”, “Words of a Fool”, “How Can You Mend a Broken Heart”
Honest Opinions 