Blues

Week 52: Paul McCartney- III

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What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”. 

Here is my track-by-track review of his latest album:

Long Tailed Winter Bird:

This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.

Find My Way:

Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.

Pretty Boys:

The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.

Women and Wives:

This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.

Lavatory Lil:

This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.

Deep Deep Falling:

It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.

Slidin:

Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.

the Kiss of Venus:

A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.

Seize the Day:

Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.

Deep Down:

Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.

Winter Bird/When Winter Comes:

This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.

Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.

7/10

Week 47: AC/DC- PWR UP

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It’s quite funny, really, when you consider that Kylie Minogue was number one last week, and this week is the turn of some more of Australia’s finest musicians. These are the best bands and musicians out of Australia, and it’s none other than AC/DC. Yes, there may be English and Scots among the band, but they were founded in Australia (A friend of mine lives not far from one of the former member’s burial place in Perth.) Who isn’t a fan of AC/DC? I might have discovered them after the infamous shirt worn by Butt-Head. Still, after my curiosity, I found I enjoyed listening to their…let’s use Cricket terminology for this (As it’s one of the huge sports in Australia) all-out attack sound, like a Baggy green slogging away out in the middle at every possible ball and sending it either to the boundary for four or striking it into orbit for a maximum. This is the band’s 17th studio album and sees the return of leading vocalist Brian Johnson since his hearing operation and replacing the current touring vocalist, Axl Rose (Yes, that one. Mind you, he was on good behaviour in AC/DC. Probably because Angus Young promised he would kick his fucking head in if he pissed about by turning up late onstage et cetera.) Brian looked like he wasn’t going to return after the news that his hearing was so bad that if he carried on performing, he would go entirely deaf. However, he says his hearing is better than ever and announced his return earlier in the year. 

Here is my track-by-track review:

Realize:

From the off, the album has that typical AC/DC attitude to tee the listener up for what they are to expect for the entire listen.

Rejection:

This could be the second single off the record with its catchy guitar riff, and I can certainly see this being included in the setlist when the band can take it out onto the road. It is a tour-ready anthem and one that will get the crowd singing their hearts out.

Shot in the Dark:

The band released this as the leading single, and you can tell why when hearing it. It fits perfectly into that AC/DC wall of sound.

Through the Mists of Time:

Yes, it may be more relaxed initially, but it progressively builds. From a steady rhythm, it grows into the usual rock melody they adopt, complete with a chorus that gets into your head.

Kick You When You’re Down:

Hmmm…this track surprised me with its roots in blues. It’s not a usual AC/DC track (Unless I’m missing something?) with its signature blues riffs that will have the listener moving their head rhythmically. Will it be used on tour? Probably. Even though it is blues, the song is quite uplifting, and it appears, just by listening, that the band had a lot of fun recording the song.

Witch’s Spell:

AC/DC at their best with Brian’s powerful vocals and Angus’s signature guitar riffs. Not to mention the strong rhythm section to back them up and give them that all-round sound.

Demon Fire:

It is a very energetic track with Brian showcasing his vocal talent by going into the lower range, experimenting with different tones, Angus backing him up with a blues riff, and once again the rhythm section adding the panache.

Wild Reputation:

Again, this track doesn’t start as an AC/DC one but does gradually. Initially, it is very soft, with the rhythm more relaxed to match Brian’s vocals. I don’t know if the band recorded this as they reached the end of the session, but it is more mellow than the album. Respite for the listener, perhaps?

No Man’s Land:

Intriguing. In quick succession, the record’s tempo is mellower and very much inspired by country music. It could make it onto a country compilation in years to come.

System Down:

Ah, they have found their muse again and gone full-on rock with this traditional AC/DC track with Brian’s howling vocals and Angus going schizophrenic on the guitar with his riffs and solos. Not to mention the catchy chorus. There’s nothing to say about the rhythm section I haven’t already said so far because everyone knows what makes an AC/DC song.

Money Shot:

A stunning bit of play by Angus on the axe is the highlight of this track and the whole album. This is Angus Young showing his wizardry on the guitar. For the most part, the song is ready, but Angus lights the fuse when he does the solo.

Code Red:

It is a superb way to close the record, and for that reason alone, it will be included as a set closer as they disappear off-stage before returning for the encore. Upbeat and hopeful.

Song recommendations: “Realize”, “Money Shot”, “System Down”.

9/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.

Everything Now:

I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.

Signs of Life:

Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.

Creature Comfort:

Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.

Peter Pan:

Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.

Chemistry:

Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.

Infinite Content:

This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.

Infinite_Content:

Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.

Electric Blue:

A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.

Good God Damn:

The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.

Put Your Money on Me:

I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.

We Don’t Deserve Love:

Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.

Everything Now (Continued):

It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.

Overall:

Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.

7/10

Week Seven: Rag n Bone Man- Human

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Human

It’s impossible not to judge this man on first look. He looks like a hillbilly from America (despite being from Sussex) and even has a big build, but he is inspired by gospel, soul, Motown and hip-hop and has the voice to boot. It also proves that the charts are not just exclusive to the generic pop music that features heavily in this day and age, as Rag n Bone Man’s gospel-laden record has gone straight in at the top of the album charts, and his single also reached the summit in the singles chart. His voice is heavily influenced by his idol Muddy Waters. From ‘Human’ onwards, the album is in top gear to the closing track ‘Die Easy’.

Rag n Bone Man was born into music, and his father played slide guitar. Rag n Bone Man started singing in the local pub nights before moving to Brighton and muscled his way into the trending hip-hop scene.

This album combines both influences, which you can hear in ‘Be the Man’ and ‘Ego’ for hip-hop and ‘Innocent Man’ for the blues. The gospel-laden album and the church sound piano are especially evidence of that on ‘As You Are’. This may not be a preaching or bible-bashing album, but there are those themes that one would associate with religion.

The songs that really stand out on the record are ‘Bitter End’,’ Ego’, ‘Grace’ and ‘Human’ the latter that propelled Rag n Bone Man into the public eye after the acoustic version of the song debuted on Later…with Jools Holland in October 2016. That demo sent to Jools to hear probably kicked it all off for Rag n Bone Man, and his performance on Jools’ show fully justified Jools’ decision to give him the platform he so richly deserved. After this stunning debut record, he has set the benchmark for himself for his next album.

9/10