Brandi Carlile

Week 15: Elton John and Brandi Carlile- Who Believes in Angels?

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Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 33: Hozier- Unreal Unearth

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Who could forget 2015 when Hozier went toe-to-toe with James Bay for the anthem of the year? I am trying to remember who won precisely, but both anthems are now somewhat iconic. That was the beginning of Hozier’s already lengthy career. We might not have heard of him until then, but he was in a band before and did several live performances as a backing vocalist, et cetera. His anthem, ‘Take Me to Church’, finally got him noticed. The whole album was good, and the songs performed live were quite celestial. According to an interview with Jools Holland, “Unreal Unearth”, his third studio album, is inspired by literature, such as Danté.

What I found somewhat surprising is Hozier has written only two songs on the record, and the rest are co-written. You would think Hozier wouldn’t find this necessary, as he has shown he is a great songwriter on many occasions. As you can imagine, the two he wrote are by far the best work on the album. One of them would be seen as controversial over here as it details how the Irish citizens suffered at the hands of Britain during the invasion. Particularly the holocaust, which is dressed as the “famine”. The track in question is called ‘Butchered Tongue’, and over this plucked acoustic tune, Hozier gives a fiery vocal delivery about the injustices. If you can’t handle sheer honesty in the song, then don’t listen. He doesn’t hold back. It was also refreshing to hear a Gaelige song that introduces the album—further stamping his Irish identity. The second, written by him, is towards the end of the album ‘Unknown/Nth’, an ethereal track riddled with metaphors.

Another of my standouts are songs I had earlier in the year when he performed on Later…with Jools Holland. ‘Eat Your Young’ is quite a disturbing track. Still, it has some fantastic guitar work by Hozier and then ‘Francesa’, a highly emotional track about someone dying of an incurable disease. The vocal delivery on both are raw and sung with absolute conviction. Hozier’s lyrics go from biblical references, to the outlandish naming of car parts. It is beyond insane as the record progresses. The biblical references kind of blend in with the whole Danté-inspired premise. 

In the Spring edition of Later…with Jools Holland this year, Jools felt the album was eclectic, and Hozier agreed. Indeed, this record has funk, soul, Celtic, and rock, to name a few. As well as having co-writers, Hozier also did an indie-inspired track called ‘Damage Gets Done’ with Brandi Carlile. Then there is a jazz track, ‘All Things End’. You would be forgiven for detecting a metronome, but it is surprisingly finger clicks, complete with a gospel choir in the chorus. 

It was disappointing to find Hozier acquired co-writers for this album, and you feel cheated knowing he did. Yes, co-writers can write, but they need help understanding the meaning of your songs. As mentioned earlier, Hozier, in his own right, is a great songwriter, so this decision seems odd. Hozier is known for writing passionately about things he is interested in or his life. I can only think the record label browbeat him into using co-writers because they would be able to stem his creativity on what can be controversial opinions. The real test is how they hold up live. Although the album might be slightly manic with the genre-hopping, I still find it quite a good listen.

Song recommendations: ‘Francesca’, ‘Butchered Tongue’. ‘De Selby Part 1’

8/10

Week 11: Miley Cyrus- Endless Summer Vacation

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I do not know how I first came to hear of Miley. I just knew she was the daughter of Billy Ray Cyrus, who had the early 90s country pop smash shit ‘Achey, Breaky Heart’. I also knew she played a character called Hannah Montana on some children’s television channel, and I believe she was also part of the infamous Disney Kids Club. I remember her appearing as Jake’s fling on Two and a Half Men. Now, as you can imagine, the music I have heard of hers is all that awful pop chart shite. But I have enjoyed her collaborations with DJs, and her country songs, which her vocals are better suited for. I also enjoyed her cover of ‘Nothing Else Matters’, which I reviewed on someone’s album. The name of the artist who collaborated with Miley to cover the popular Metallica songs escapes me now. I have so far avoided her cover of ‘Slideaway’ by Oasis. I have heard it’s good, but nothing beats the original or better.

So, “Endless Summer Vacation” certainly wasn’t the usual kind that Miley churns out; far from it. This album is not pretentious in any way. Miley reveals every detail about her marriage, divorce, embarking on a relationship, and other topics, with minimal swearing, which is a surprise.

I need clarification on why the opener “Flowers’ gets a raw deal. It is by far the best song on the record in both guises (The closer is a stripped-back demo version.). Again, I wasn’t expecting her to do a melancholic song over a disco stomper, which also throws in a strings section that deems this track a comparison to Gloria Gaynor’s ‘I Will Survive’. I like how the song is directed at Liam Hemsworth, but with the disco vibe, you are carried away by the uplifting instrumentation.

‘Jaded’ is the second track, and…wow! Fucking shoegaze? I never thought I’d hear Miley channel the War on Drugs or Slowdive. So, you got that floaty instrumentation over a synthesiser and Miley’s best vocals on the record. The topic concerns being in a dysfunctional relationship and how she is often at home waiting for her boyfriend (Now an ex, in this case.)to return from the bar after heading out in his car. However, he does not try to notify her of when he will return, so she is unaware. She is exhausted by his coping mechanism. Hence, why the chorus says, “You Leave me feeling jaded”.

The next song is ‘Rose Colored Lenses’, another shoegaze moment. ‘Thousand Miles’ follows, which features Brandi Carlile on co-vocals and acoustic guitar. This Americana track is about keeping your shit together when the head is all over the place. ”Handstand’ is a spoken word song with a synth and springs to life after the halfway point turning into electropop. Only then will the song have a lot going on.

‘Muddy Feet’ features Sia on both the song and the writing credits and sees Miley aim at a cheating ex. The delivery is raspy until she steps it up by telling him to “fuck off”.

‘Wildcard’ sees Miley explaining her imbalance in a relationship, saying that she wants it all and is fully committed, but she cannot guarantee that it will remain that intense. 

‘Island’ is a double-sided coin. It can mean feeling euphoric about finding someone, and then it can also mean feeling alone after breaking up with someone and longing for those moments.

On the outro, Miley has shown maturity on this album and discusses things she might have shied away from before. It certainly is an eye-opener to the honest Miley and not the one portrayed in the media.

Song recommendations: ‘Flowers’, ‘Flowers(Demo)”, ‘Jaded’

7/10

Week 43: Elton John- the Lockdown Sessions

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Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades. 

But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.

So, how was the concept of this record born? Elton wanted to do more than play family games and watch television, which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.

I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is. 

Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.

I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.

If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would have probably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist Robert Trujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’. 

Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm. 

The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.

The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am going to sum up the following shortly and sweetly:

‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.

‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song, making it spiritual.

‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t Go Breaking My Heart’ talking about their relationship through those 45 years.

‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimagining of his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.

My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.



Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’

8/10

Week 3: Barry Gibb- Greenfields: the Gibb Brothers’ Songbook Volume 1

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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 catalogue by 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. Barry returns 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-like presence to “Words of a Fool”, but Barry’s distinctive falsetto vocals still rise above all else on the album. Of course, 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 done a 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 over Dave’s lavish production. Even after all these years of sharing vocals with his late brothers Robin and Maurice in the Bee Gees, Barry still is very democratic with vocal performances, even though this is his record.

Song recommendations: “Run to Me”, “Words of a Fool”, “How Can You Mend a Broken Heart”

8/10