I already told you (I think) in my review earlier in the year that I like Shed Seven, and they have been underappreciated by the mainstream. The media especially had harsh words for them during the Britpop movement, but it is nice to see the York lads have remained defiant and carried on regardless.
Take a moment to appreciate their loyal fanbase, who have been part of their journey for over 30 years . Despite the criticism from mainstream music journalists, the band remains popular , largely due to their strong connection with their fans. Their music, especially the 90s singles, have become anthems that still sound fresh today. “Liquid Gold” is a testament to this bond, not just a lazy greatest hits album . It’s been reworked and includes an orchestra, giving it a fresh and bombastic sound. Was it a risk? Yes. Was it worth it? This record is amazing. That’s your answer.
I haven’t looked into the vinyl edition yet, but that version is even better than the other versions. I just went to the band’s official YouTube channel and listened to it. I’m glad they chose to reimagine their greatest hits because we already had “Going for Gold” released in 1999.
The opener is ‘Getting Better,’ featuring strings and bass. Although the track has been altered, it still maintains the uplifting tempo of the original with a bigger chorus. I’ll be honest with you: You are in for one hell of a listen.
I am going to single out ‘Devil in Your Shoes’ and ‘On Standby’ next for continuing in the same vein as ‘Gettin’ Better’, but this time, violins are a highlight on the chorus. It is worth noting that both songs retain their originality.
One of the album’s most striking features is its uplifting nature, enhanced by the orchestral elements. The orchestral version of ‘Disco Down’ is a perfect example. Surprisingly, it surpasses the original, which was already brilliant, in terms of its musicality and emotional impact.
I could wax lyrical about this record all day and all night. It is truly magnificent. The listen flies by; you are definitely having fun.
Some might say the band are showboating on this album and basking in their success earlier in the year, but who cares? They have been underappreciated for decades. They deserve to swagger. The band sounding tighter than ever, and Rick Witter’s vocals have remained ageless. Honestly, I couldn’t tell his vocals apart from then and now.
We can only dream the reworking ‘Going for Gold’ to become the next James Bond theme because it will be the perfect fit.
Issy Ferris performs vocals on the new version of ‘Waiting for the Catch’. Yes, some recent songs get a makeover. The latest version with Issy will be one of their best in future years.
There is room for a new song called ‘All Roads Lead to You’, quintessential Shed Seven.
Okay, reworking songs with an orchestra or otherwise isn’t original, but the Sheds haven’t made it cliched. The band worked with the orchestra to build up the chemistry and create lightning in a bottle while still keeping the band’s identity.
The album wraps up with the enchanting ‘Chasing Rainbows’ , another sublime reworking. I do wish ‘She Left Me on Friday’ was included, as it’s a personal favourite. I urge you to listen to the album from the beginning, as it’s a true delight with no disappointing reworkings. This record is a gem, consistently uplifting and enjoyable. I’ve included some song recommendations, but trust me, it was a tough call. Kudos to the Sheds for this fantastic record.
Song recommendations:‘Going for Gold’, ‘Waiting for the Catch’. ‘All Roads Lead to You’
THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.
Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:
Let’s Go:
BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.
Kissing California:
The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.
Talk of the Town:
Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.
Let’s Go Dancing:
This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.
In Ecstasy:
You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.
Tripping with You:
Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.
Let’s Go (Again):
A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.
Real Love:
The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.
F: K: H :
The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here.
Starlings:
As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.
Ring the Changes:
It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.
Throwaways:
The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.
Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’
I have decided to do a track-by-track review because it is the legends that are Blur. However, before I get to the review, I will introduce the band, as this is my debut review of them. They were formed in 1988 and initially named Circus before changing to Seymour. Damon Albarn was the sole member until bassist Alex James joined. Drummer Dave Rowntree followed in October before Damon recruited his childhood friend, who met when he moved to Colchester lead guitarist Graham Coxon. They then signed with Food Records in 1989. The label drew a host of names for the band as they were not keen on Seymour. They would decide on the name Blur.
They went on a UK tour in 1990 and released their debut single ‘She’s so High’, which reached 48th in the chart. For their following single, they worked with producer Stephen Street known for working with the Smiths and Morrissey, who the band were fans of. Stephen would produce the Stone Roses-esque ‘There’s No Other Way’, an instant hit with music fans and would peak at no.8 This would propel their status in the industry, but their third single ‘Bang’ was a total disaster peaking at no.24. Their label encouraged the band to keep the sound in line with the music coming out of Manchester at the time, dubbed Madchester. Their debut album, “Leisure”, came out in 1991 and charted at no.7.
Despite their mild success, they found themselves 60,000 pounds in debt and did a US tour in 1992 to clear their debt. They released their 4th single, ‘Popscene’, to promote the tour. It may only have charted at no.32, but the single would cement the Blur wall of sound we can still hear. The US tour was a bomb scare, with the members fighting and arguing.
When they returned, they worked on their second album, “Modern Life is Rubbish”, released in December, but then rejected by the label and wasn’t ready for release until May 1993. ‘For Tomorrow’ was 28th, and the record charted lower(15th)than their debut.
Their third album, “Parklife”, released the following year, got Blur the recognition they finally deserved. It helped that Oasis was being talked about and revived the Indie scene. For Blur, ‘Girls & Boys’ went in at no.5, their highest entry, but even better was “Parklife’, which became their maiden no.1 album. The band would win four awards at the 1995 Britannia Music Brit Awards.
The band would release “the Great Escape” the following year, which also went in at no.1, and they also went head-to-head with Oasis summer when they pitted their ‘Country House’ against the Mancunian’s ‘Roll with it’. Blur would beat Oasis to the no.1 single spot, and in the process, the media made up a bullshit ‘war” between the two bands, which saw fucking brainwashed idiots taking sides instead of appreciating both bands’ music.
Blur released their self-titled the following year, departing from the “Britpop” sound. Especially with the heavy rock song ‘Song 2’. Their first single, ‘Beetlebum’, a song that Noel Gallagher recently confessed that he thought was their best song and wished he had written.
Blur gave themselves a bit of a break and released “13” in 1999, which spawned the hits ‘Tender’, and ‘Coffee & TV’. “13” was yet another no.1 record. The next album would be in 2003 without their lead guitarist Graham Coxon and would be replaced by the Verve’s Simon Tong (Yes, his brother was the drummer for Bloc Party). “Think Tank” would also at chart no.1. There were several rumours in 2004-07 of the band working on extended plays, but these never happened, and without knowing it, the band disbanded.
They would reform in 2009 for a Hyde Park show, but it was Glastonbury, which would prove successful, and the fans hoped the band would stay together. They also headlined Oxegen and Tennents in the Park the same year. The band released their second greatest hits album after the successful reunion shows.
There would be several accolades and documentaries released before 2015 when the band announced they were back with their original lineup and released “the Magic Whip”, recorded in Hong Kong during a five-day visit in 2013. The band would hibernate after touring “the Magic Whip” until 2019 doing a special gig in London.
This brings us up to the present, where the band played EE Stadium, Wembley last month, and then played “the Ballad of Darren” in its entirety at AventimApollo last month. This will be the only time the new album will be played in its entirety live. The event was broadcasted online via a paywall, and of course, those who got tickets to witness it at the venue. Now, let’s get on with the review. I have given a long enough introduction to the band. I will also add that the album is named after their late security guard Darren “Smog” Evans:
the Ballad:
The opener begins with a drum machine that sounds tinny over minor keys and reflective vocals. This appears to be a hallmark of Damon’s solo material, but luckily for him and the listener, his bandmates from Blur are there to give the track more life akin to Blur. Graham Coxon especially rescues the song with his unique guitar playing and his backing vocals, then Alex James with his signature basslines. It is like Blur hasn’t had to shake off the rust of being absent from the studio for a decade.
St Charles Square:
For me, this track was the quintessential sound of Blur from the 90s and reminded me of tracks such as ‘Girls & Boys’ and ‘Charmless Man’. Again, Graham takes centre stage with his overdrive guitar tones.
Barbaric:
This is Damon putting the Gorillaz sound onto Blur. The subject, though, is not of the kind associated with the Gorillaz, as it is about a relationship falling apart and one of the lovers being hopeful yet bitter about it. However, they adopt something that Damon’s now friend Noel Gallagher is exceptionally good at blending melancholia lyrics over upbeat instrumentation. Staying with the Manchester thing, this track has an instrumentation that Morrissey and Johnny Marr excelled at within and outwit the Smiths. Graham Coxon’s intricate guitar playing gives the melancholia of Damon Albarn hope.
Russian Strings:
A more delicate side to the band, which sounds like ‘the End’ with overlaying guitars slow fading on the outro.
the Everglades:
So far, ‘St Charles Square’ is the only track that has resembled Blur’s 90s sound, and this track doesn’t give us a glimpse of it happening anytime soon. In fact, with the plodding acoustic guitar, this is more Simon and Garfunkel, complete with strings.
the Narcissist:
This was the track that everyone heard before the album was announced, and it was safe to say that it was an instant hit with their fans, but also music fans in general. Again, another track with melancholia but enveloped in 80s pop and 90s American Indie, so an example would be the kind of music associated with Pavement. There is also that tinny drum machine featured at the beginning of the record with Dave’s stomping drums to save the percussion element. Who wants to listen to a cheap drum machine without an actual drummer? This song is already featured in the band’s encores of their “the Ballad of Darren” tour, which shows that this track is already on its way to becoming a Blur classic.
Goodbye Albert:
Graham’s axemanship shines through as he blends aggressive with tender playing through the use of the pedal effects, so there is a lot of distortion. Alex hasn’t gone for his rapid playing on this, but rather a sense of delicacy with the bass. The lyrics delivered by Damon are him departing from his youth and entering into a more mature yet darker side of getting older. Also, as he confessed to Zane Lowe recently, he finds it difficult to sing the early Blur songs because his vocals were more youthful then, and now his vocals are a lot more bassy as he has got older. This song may be about Damon letting go of his youthful vocals and adopting the bass vocals he has acquired with age.
Far Away Island:
Damon has done many far-out projects outwith of Blur, and this one is a Brian Eno-esque experimental track. A psychedelic track over strings, with Damon adopting the vocals of a junior school kid. Will it go down well with the fans? Why not? Brian Eno makes far-out songs, but it works. You have to look at U2’s “the Joshua Tree” as a good example.
Avalon:
As we approach the end of the record, you can sense a more upbeat vibe as ‘Avalon’ opens with horns. The track itself hints towards uplifting moments, which is briefly interrupted by the sound of fighter jets ready to engage in aerial combat. The lyrics reflect the fighter jets in aerial combat, but there is a particular sinister lyric where Damon says, ‘Then I overdo my dose, and I don’t even know I’m here anymore’, which could also mean that the fighter jets are a metaphor for one taking an overdose to end their life. However, after that verse, Damon utters the line, ‘but the glass is still half-full. As mentioned earlier, the track, on the whole, is uplifting and full of optimism, then countered with the fighter jets sample. This could well be Damon feeling in turmoil about the future. I am unsure why he would feel this, as he is among the great songwriters.
the Heights:
A nod to the late David Bowie with an acoustic guitar at the intro that sounds like David’s tenure as Ziggy Stardust and the classic ‘Space Oddity’. Damon’s vocals follow. Then, of course, the rhythm section consisting of Alex and Dave brings the uplifting element. Graham had a backseat over this Sgt Pepper’s-esque track, or their counterparts Oasis who had the Beatles-esque ‘All Around the World’. Unfortunately, although they tried to element that exquisite sound of the Beatles, or Oasis, it didn’t work. The track has far too much going on, so it sounds like a mess. The band should have finished on ‘Avalon’. Yes, it had brief melancholic moments, but the rest was bombastic and uplifting.
Overall:
I will add an overall summary because you might look at the track-by-track review and think, “Fuck that. It sounds shit”. However, that is not the case at all. Yes, it is an experimental laced with Ziggy Stardust, Brian Eno, and Pink Floyd, but that adds to the mystery of Blur. They shouldn’t be known as an Indie outfit, but that is willing to evolve, and that’s the case here. I sincerely hope the band do not call it a day after the current tour because they are working as a unit in the studio and onstage. Damon and Graham have had strong chemistry since the band reformed in 2009, and the music is better for it.
Song recommendations: ‘St Charles Square’, ‘Avalon’, ‘Far Away Island’
Honest Opinions 