Comedy

Week 36: Sabrina Carpenter- Man’s Best Friend

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Well, let’s start by mentioning the provocative album cover, where it appears that Sabrina is ready to perform a sex act, and the face-hiding man is pulling her hair. You may have noticed she has done the same pose, sandwiched between two male dancers, on her tour. Also, the record is called “Man’s Best Friend”. Now, everyone knows that phrase relates to dogs, so is Sabrina insinuating women are like dogs? Now, as you know, I reviewed her last album and was left impressed by it, but this one is certainly not for the faint-hearted. Sabrina talks candidly about sex in all its explicit glory, and swears an awful lot.

However, rather than trying to appear controversial, the music has to back that up, but alas, it does not.


Unfortunately for Sabrina, the chart landscape has changed, and once what might have been too much is now seen as tame, which is shocking when we have children as young as four being exposed to the sexually explicit content featured on “Man’s Best Friend”. As I am an adult, I could not give a shit about her saying that, and I found humour within it, but it is not for any child below a certain age to be exposed to.

Additionally, the album is too polished, as evident in ‘Manchild’. I like it, but the production and her wordplay conceal the message that she is trying to convey, so it goes missing. Now, as a songwriter, I am sure Sabrina would want that message to be heard.


Now, I have mentioned the lyricism is both sexually honest, funny, and witty, but that is as far as it goes. Rather than going deeper into the subject behind the songs, Sabrina leaves that up to the listener. Now, this isn’t a bad thing, but on this occasion, it is. She needed to make a connection with the listener about the deeper meaning behind songs like ’Never Getting Laid’, ’Tears’, ‘We Almost Broke Up Again Last Night’, which, as I said, are sexually explicit and contain the occasional fuck word, but there is nothing else.


Unfortunately, Sabrina has sacrificed artistic creativity for commercial outreach. Although the album may have an element of shock value with the lyricism, she unfortunately does not explore other sounds, so you end up with a safe record. On one hand, this could be seen as smart and doesn’t alienate her core fanbase, but on the other hand, the predictability of the subjects and the production on offer takes away the soul of the music. Rather than challenging the listener, she gives them what they want. Well, her core fanbase, at least, but nothing for the casual listener, who will see it as the usual pop album that every female artist is churning out at the moment.


Despite the lack of substance. Sabrina’s vocals are once again incredible, and it’s nice to see her flirt with country music occasionally. She needs to do more of that because she excels in that field. As we all know, despite the glaring flaws I have highlighted, Sabrina will have another successful record under her belt. Yes, it is number one, but it will receive accolades because the commercial market loves an album full of catchy pop songs. That is just how the commercial scene works. It does not matter if the record lacks on a deeper level.


When artists such as Pulp frontman Jarvis Cocker and Lola Young can merge on a deeper level within pop, it is sad to see artists like Sabrina being bound to what pop expects. Sabrina is a brilliant songwriter, and she should have given more behind her barbs to the men behind the album. I believe it is her ex, Barry Keoghan, instead of giving us bitchy lyricism with no deeper meaning. The two artists I mentioned prove that you do not have to be bound to the constraints of pop. Hopefully, Sabrina offers more on her eighth studio record, because she is more than just a pop artist.

Yes, we have catchy choruses and pop-friendly production over a fleeting half-hour listen. Most songs fall well below the three-minute mark. Music that I describe as “TikTok generation”, but there needs to be more to it. Sabrina is capable of doing that if she frees herself from the confines of generic pop.


I would also like to add that you should not let your kids listen to this. They are far too young to be exposed to such sexually explicit content. This is strictly for teenagers and adults.


Song recommendations: ‘We Almost Broke Up Again Last Night’, ‘Manchild’, ’Tears’

5/10

Week 32: Reneé Rapp- Bite Me

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Track-by-track review:

Leave Me Alone:

If I weren’t doing a track-by-track review, I would give an introduction to Reneé Rapp (I did plan to do a brief, but unfortunately, brief wasn’t all that brief.), but what you will discover through this is that it embodies her whole devil may care attitude, and how she lives life how she pleases. She will only do whatever makes her happy, rather than appease people. This is what appeals to her fans, and people like me, who have only just discovered her. As the review goes on, you will see that she is outspoken and isn’t afraid to use expletives or throw in the occasional comedic remark. Such as this track, which has lyrics like “Manager called said ‘where’s the single?”. She also expresses she wants to have fun over business matters. She also references The Sex Life of College Girls, a show that I think is on ITV2 at an early hour on a Saturday—a show where she coincidentally appeared. The reference calls out fans of the show, who are less than impressed that she left it to pursue music.

Mad:

This acts as the second single, which is a pop anthem about having an argument with her lover, and wanting to make amends, but the lover is hurt and won’t accept the apology. She tries everything to make amends, but her lover refuses to lose face. She goes on to attack her lover by accusing them of fucking with her head, and therefore has had enough, and lost the energy to fight. All of that aforementioned takes place in the chorus. The song itself resonates with the listener because we have all been through this at some point in our love lives. It is a classic pop track.

Why is She Still Here?:

This emotional piano ballad was the third and final single to be released off “BITE ME”. This blues-infused R&B track fits in with her vocal range. The focus is on her begging her significant other to let her or another woman go, because both are being played. You can hear this frustration in her vocal delivery and by the lyricism used. She also finds it hard to let her lover go, even though she feels she is being treated as a bit on the side.

Sometimes:

This is basically the second part of ‘Why is She Still Here?’, but instead of showing her frustration, Reneé displays more resignation as expressed in the chorus. She pleads with her lover to let her go. A highlight of the track is her lyricism and falsetto.

Kiss it Kiss it:

From the emotional piano ballad to pure pop energy. Do not let your kids listen to her as she gets very sexually intimate. I imagine it is about her current girlfriend, Towa Bird, whom I believe was her on-screen fling in the television show mentioned back on ‘Leave Me Alone’. It’s about the journey from despair to the ecstasy of being madly in love. There are some great comedic lines in this, such as “She asked how I like my breakfast?/ I told, ‘hot on the bedroom floor’. There is also one about making love and almost getting pregnant, even though that is impossible with two women. The lyricism, as you can see, is full of comedy, but also addresses the passion and sexuality between them. Regarding the soundscape, it contains a catchy drumbeat coupled with a bouncy bassline.

Good Girl:

The title explains it all. She talks about how she used to be a good girl. She says she has a safe lifestyle in favour of drugs, and living in the fast lane. She expresses that her new life is disappointing her father. This 80s synth pop track is the second part of ‘Leave Me Alone’.

I Can’t Have You Around Me Anymore:

This acoustic guitar ballad explores the theme of falling in love with a friend, but questioning whether these feelings are genuine, despite her having a girlfriend, which is affecting her relationship. Her vocal delivery is apt for the reflective nature of the track. As the track unfolds, she tells the friend she has feelings for to end all forms of contact, because she cannot deal with having her around while she is in a relationship, and is scared of losing both women.

Shy:

I have failed to mention it so far, but I do sense a Ke$ha vibe with her both spiritually and vocally, and this song would belong in Ke$ha’s early 2000s era. You notice the ongoing theme of the album is based around her girlfriend. This song expresses that she is behaving oddly for her because, instead of being smitten, she is used to being quite volatile. For once, she feels shy as the title suggests, and therefore wants Towa to snap her out of it. However, these emotions are all contradicted in the bridge, where she embraces being shy.

At Least I’m Hot:

You may think the title suggests a moment of egotism, but no. She is talking about herself ironically. The track is quite dark because it talks about being depressed and overwhelmed by everything surrounding her.

I Think I Like You Better When You’re Gone:

The title is very misleading because as you start to listen, you can hear the R&B ballad is full of emotion about her ex-girlfriend, and recalling when they were together. In the first verse, she expresses that she is happy when she isn’t around and hopes she never returns because she has made peace with the relationship approaching its end. The second has more reflective lyrics, but it is her guilt during her delivery that adds to the authenticity of the story.

That’s so Funny:

One thing I appreciate about her tracks is her knack for sarcasm. Not many Americans understand irony, but she certainly does. She aims at an unnamed individual who has spoken ill of her, putting her in a negative light. She also references the television series in which she was in the second verse.

You’d Like that Wouldn’t You:

She doesn’t hold back on the final track as this action-packed song contains sarcasm, her delightful vocal range, and a lush soundscape. As you can imagine, Reneé brings attitude to the table, taking aim at another ex-girlfriend and saying she wants her back, because she cannot find anyone better. I thought Olivia Rodrigo was blunt and honest, but Reneé Rapp takes it to a whole other level.

Song reccomendations: ‘You’d Like That Wouldn’t You’, ‘Leave Me Alone, ‘Good Girl’

9/10

Week 29: Wet Leg- Moisturizer

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Since their self-titled debut, which I reviewed, everyone has been longing for their follow-up, “Moisturizer”. I’ve heard a rumour that the band (which is actually a duo) is planning to release their own brand of moisturising cream, and this album has been released in conjunction with it. That could all be nonsense, but who knows? I must say, before I begin a more in-depth review, that I found it fantastic. It is fun yet tender, with catchy lyrics, playful references that we have come to expect from them, new soundscapes, uplifting, and plenty of love. As I mentioned earlier, they’re a duo, but I have just done some quick research and discovered they are now a five-piece band. It is always tricky to emulate the debut record, but they have avoided the second album blues. As I mentioned, it features new soundscapes, which make them more emotionally intimate, but they still retain their identity.


We begin with ‘cpr’, a song currently being played to death on BBC Radio 1 and Radio 2. It is a song about falling in love set to a high-tempo beat, driving guitars, and full-on rock. Let’s examine some of the lyrics. There is a part where frontwoman Rhian Teasdale says, “Hello, 999, what’s your emergency?…Well, the thing is…I’m in love’ was delivered in her trademark raspy and gaspy vocals. It is both cheeky and clever lyricism. It sets the tone for the rest of the album, which is based around love. The soundscapes include 80s pop-punk and, of course, 90s indie rock. They have been discussing very deep and emotional things, but they still maintain their fun side, so the listener remains engaged rather than getting discouraged from listening.’


liquidize’ follows, a track about anxiety and wanting to desire without delay, for example. “It’s not like me to fall over heels-I melt for you, I liquidize- I want you to want me all the time’ speaks to the majority of us because when we are infatuated, we want to rush straight in, and push things forward in a relationship before it is given a chance to breathe. ‘catch these fists’ is up next, and I absolutely love it. The leading single features fuzzy guitars and garage-rock foundations, accompanied by flirtatious and sometimes threatening lyrics. It is in-your-face with plenty of attitude.


‘davina mccall’ is a soft, romantic track that leaves us pondering its connection to a television presenter. The band’s use of pop culture references, such as Davina McCall, in the chorus, is thought-provoking. They have a knack for transforming what might seem like ‘mediocre things’ into something deeply personal, which shows their creativity. This was previously demonstrated when they incorporated numerous Mean Girls references into their self-titled debut.’


‘mangetout’ sees the band further flirt with new soundscapes, as they turn into half-post-punk, half-sensical slogans, and half-whimsical daydreams. It is sure to be a success when performed live. One of the great aspects of the record is the balance between sincere vulnerability and the band’s playful nature. The tempo slows during ‘pond song’, with bassist/guitarist Hester Chambers confessing that she has “never been so deep in love” over tender guitars and a dreamy soundscape.

Then comes the extremely intense ‘pillow talk’. This raw track with pulsing addresses wanting to do everything imaginable with a crush.


The last three songs condense everything that has come before. ‘don’t speak’ uses clever language, ’11:21’ acts as someone eavesdropping on a personal, and intimate late-night call, and to complete the trio is ‘u and me at home’, which is a sweet love song. It serves as a reminder that even though the last three tracks are more tender and downtempo, they reflect that the loudest statements of love are often found in the quiet.‘


Of course, their debut was littered with songs about partying, crushes, film references, playfulness, comedy, sexual innuendos, and quick-witted one-liners. Well, their second record still includes all that and then some. The songs are bigger sonically, revealing a deeper side.


It is nice to see that the band is not a one-trick pony and will be around for a long time. This album showcases the band maturing, but just enough to preserve their fun and humorous side.


Song recommendations: ‘catch these fists’, ‘cpr’, ’11:21’

9/10

Week 35: Sabrina Carpenter- Short n Sweet

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I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.

I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:

Taste:

We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.

Please Please Please:

It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.

Good Graces:

I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.

Sharpest Tool:

Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.

Coincidence:

It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.

Bed Chem:

Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.

Espresso:

Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?

Dumb & Poetic:

Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.

Slim Pickins:

Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.

Juno:

I was unaware , this song is a tribute to the 2007 film ‘Juno ‘,  that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.

Lie to Girls:

The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.

Don’t Smile:

The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.

Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’

8/10

Week 41: Ren- Sick Boi

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The first I heard of Ren was when the Welsh rapper/vocalist/guitarist/songwriter, who is Brighton-based, released a video on social media saying how surprised he was that he might get the top spot this week. From there, I checked out his material and loved it. I fucking love “Sick Boi”. It is choc-full of wittiness, wordplay, sarcasm, comedy, and profound moments. There is even a sample of Barrington Levy’s ‘Murderer’, which appropriately carries the same name. This record talks about Ren’s years of being in bed with some physical illness, and I think he is borderline schizophrenic from what I have read. I know he mentions depression and feeling suicidal on the album.

I forgot to mention that Ren does spoken word, too, which shines throughout. His songs are both funny and serious. You will notice in his songs that he changes his vocal delivery. He puts on soft vocals for the good side, and for the evil side, he is more nasal. He also uses an array of vocal deliveries to represent what verse you are listening to. I could name most, but you will get the gist once you have listened to what I am saying. The change-up in rhythm to his vocals is just impressive, plus he sometimes gets out the acoustic guitar. I loved ‘Down on the Beat’, ‘Animal Flow’, and even tender moments like ‘Suicide’. This album is mad because you get to see Ren battle himself brutally and honestly. However, don’t be put off by his mental health issues because he is one talented guy. The mainstream has been sleeping on him. It is excellent he is finally getting the recognition he so richly deserves. Hopefully, “Sick Boi” getting to number one will help his convalescence.

Song recommendations: ‘Suicide’, ‘Down on the Beat’, ‘Animal Flow’

9/10

Week 38: Kylie- TENSION

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What is this? Like my third review of a Kylie album? I’ve lost track. My most recent review of hers was ‘Disco’, which came out amid one of the lockdowns, and the music within made you yearn to return to the dance floor, be it at clubs, wedding receptions, bars or parties. I also enjoyed listening to it and found it the perfect tonic to escape the drab reality we were all subjected to. However, it could have gone better with the younger generation, which could mean that with streaming services widely available, they can steer clear of radio and television music channels and avoid going to shops to listen. Therefore, they can choose who they want to listen to and become trapped in that mindset. I grew up on everything mentioned in the previous sentence, so my taste has become eclectic. Listening to the radio and watching Later…with Jools Holland gave me an open mind to music. I don’t believe that on these streaming services, the algorithm would recommend Kylie Minogue to a youngster listening to BTS, so therefore, you can see why Kylie hasn’t been as popular with the younger generation (yet.)

I first heard ‘Padam Padam’ on the Graham Norton Show (I think.), which was four months ago when the track was released, and it is still as popular now as it was then. The younger generation will certainly know this one, as the staff of Hobbycraft did a dance for it on TikTok. What is refreshing about the track is that it is uplifting, fun and humourous.

The record is reminiscent of the Europop/Eurodance you would hear on Euro Trash. It may be cheesy, but it is fucking fun and uplifting. We all need to lighten up once in a while. The title track flirts with Kylie going for the Daft Punk approach of using robotic vocals; the saxophone swoons on ‘You Still Get Me High’ and ‘Vegas High’, which have that Europop sound. ‘Hands’ reminded me of Madonna’s ‘Vogue’—especially the rapping verses. 

There is no way in hell that  “Tension” is nothing more than to promote her upcoming Las Vegas residence shows; I am not having it. It is far too professional just to be regarded as a throwaway. It is Kylie at her best, touching on all sorts of emotions, and it deserves its number-one placing. I do not believe “Tension” got there by sales alone; I reckon that the younger generation heard ‘Padam Padam’, streamed her, and fell in love with the music. The TikTok video would have also drawn their attention. I also love the cover art. Nice and vibrant

Song recommendations: ‘Hands’. ‘Vegas High’, ‘Padam Padam’

8/10

Week 49: Gary Barlow- Music Played by Humans

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Whatever you may think about the chief songwriter and band member in Take That, he knows how to write a fucking song. As far as I am aware, he’s also bizarrely a Liverpool fan from Manchester, which is quite a rarity. Although his solo career didn’t go too well after the break up of Take That (They reformed in 2005 and are still going strong to date.), he was still very successful behind the scenes, writing songs for various artists and some of the songs he wrote for them might surprise you because you thought he was the forgotten man. So, is this Gary’s second solo album? It’s called “Music Played by Humans”, released almost two decades after his debut.

“Who’s Driving This Thing?” opens the record, and Gary can be heard introducing the album to the band in the studio and sharing laughs and jokes with them. It sets the mood for the whole record, which is very big band and swing. I’m not sure if he writes for Michael Buble (Who, funnily enough, does feature.), but the delivery is very much the same as how Michael would do it.

“The Big Bass Drum” is one of the essential tracks on the album, and Gary selflessly lets the musicians and the band take the limelight and blends in by accompanying them. For once, he hasn’t taken centre stage.

Again, Gary shows his abilities as a songwriter by switching moods and subjects. In “This Is My Time”, he talks about dying from love. “Enough is Enough” featuring Beverley Knight might prove his ability to write songs on any subject, but this track is not as melancholic as the title suggests. Now, the next track I thought I would want to skip and hate with a passion is “the Kind of Friend I Need”. Why? Because James Corden is on it, but he can sing, and it works. You can hear them ribbing each other between their verses, and as the album closes, James proclaims that he’s the best singer on the track. Gary replies, “It’s my album, you know?” I found the whole track lighthearted and funny. If you like big band and swing, this album is for you. I also was surprised to find out this from Gary. This kind of record should be played at restaurants or lounge bars. Very easy on the ear, funny, and guaranteed to make you feel upbeat.

NB: I later discovered that this is (Incredibly.) It’s Gary’s fifth solo studio album.

Song recommendations: “the Kind of Friend I Need”, “the Big Bass Drum”, “This is My Time”

8/10

Week Twenty-Six: Bob Dylan- Rough and Rowdy Ways

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rough-and-rowdy

Well, it is only fitting that I do an entire track-by-track review of Bob’s latest and 39th album:

I Contain Multitudes:

As you will discover as the record progresses, most of the songs are over five minutes long. The opening track was released as a teaser for the album, which happens with most soon-to-be-released albums. As I said, most of the songs are long, and this was no exception, but keep your attention focused and listen to what is contained in this spoken word track. It may start differently than a typical Dylan album, but it is still worth listening to. It felt like I was listening to the start of the record as dawn broke, and I thought it sounded familiar to the late John Prine’s “All the Best”. Bizarrely, Bob even sounds a bit like John on this one. What will surprise you is that the song pretty much doesn’t reflect the usual Dylan material, but the lyrics inform you that it is indeed the genius of Bob at work.

False Prophet:

Yet another one that Bob used to tease the album release. From the sombre mood of the opener to the more lively following track laced with Bob’s dark humour.

My Own Version of You:

Now, this might go down poorly with the hardcore element of his fan base. Remember what happened when he ditched the acoustic guitar to play more electric originally? He alienated a fan base by doing so but didn’t give a fuck and did what he wanted to do. Of course, he still played a balanced set after all the furore over it, and again we see Bob doing what the fuck he wants to. Why? Because this sounds more like Bob rapping than actually singing or spoken word. I love his wordplay and his delivery on this track. I also like rap, so this track doesn’t make me get all angry at Bob’s attempt to do something creative. Anyway, that’s who he is. He is an innovative artist who gives himself no boundaries in the expressive arts kingdom. His hardcore fans should give it a listen and a chance.

I’ve Made up My Mind to Give Myself to You:

A rare glimpse at the moment with Bob’s songwriting as he focuses on the subject of love. It also reminded me of “Is Your Love in Vain” and the track he wrote for the Home Box Office serial crime drama rated one of the best in the world, the Sopranos. Bob usually struggles to convey his messages with sincerity regarding love songs, but he delivers this song with absolute conviction.

Black Rider:

Well, you will have noticed that most of the album is more spoken word, and this song is no exception. Indeed, if you thought the tracks were delivered in the same vein as the late Leonard Cohen, you will hear something very familiar in the form of Leonard’s “You Want it Darker”. Although about mortality, the topic hits the nail right on the head with how it is portrayed. Nick Cave or John Cooper Clarke, fuck it, even Dave could turn this into a cover that justifies Bob’s work later down the line. Of course, their version won’t beat his, but they could do it at some event in his honour in a couple of years. I mean, like a recognition event for his work. Many of which he has already had.

Goodbye Jimmy Reed:

Now, we are on common ground with Bob’s material. So far, the album has been unique and captured our attention. Not to say anything is wrong with Bob bringing familiarity to the record, but this is a safe option with all that has happened so far.

Mother of Muses:

It feels more like a Christmas song, and who knows, maybe this will be released just in time for this year’s yuletide? There’s also a change in vocal direction as Bob sings on this one, and I describe the delivery as melancholic yet beautiful.

Crossing the Rubicon:

It’s a blues song that captivates you with its slow arrangement. That is the track in an absolute nutshell.

Key West (Philosopher Pirate):

This is one of his very best, alongside all his work, and I am not exaggerating. Definitely the best off the record, but it goes much further than that. This is Bob at his finest. He still has it in him to write timeless classics, even at this late juncture of his career. It is a better version of all his tracks that do not get the recognition they deserve. His vocal delivery and melody are one. Even if this album hasn’t been to your liking so far (Trust me, it’ll grow on you in time.), you have to give this track a listen. Bob has written a classic that will be spoken about long after the current people occupying the planet are dead and gone.

Murder Most Foul:

What’s impressive about the final track is he had the fucking balls to release it as a single! It is only FIVE seconds short of SEVENTEEN minutes! Incredible! It is also his longest-ever song, the first single off the album. The sleeve has a picture of the late John Fitzgerald Kennedy; indeed, that topic is the assassination of the 35th president of the United States. The song itself was an accidental release. It appears as it was uploaded onto Bob’s YouTube account. Imagine Bob has ended an album with two masterpieces that look like they are going down as his timeless classics. No need to imagine anymore because he has finally done it on this Leonard Cohen-esque record. Bob said he did this album for him and him only, but stick with it and keep listening, and I guarantee even the hardcore fans will get it. It’s a shame he was up against Neil Young for the top spot, but Bob thoroughly deserves to sit atop the rest of the competition again.

Song Recommendations: “Key West (Philosopher Pirate)”, “Murder Most Foul”, “My Own Version of You”

9/10

Week Fifteen: Dua Lipa- Future Nostalgia

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Dua Lipa

Here is a track-by-track review of Dua Lipa’s second album:

Future Nostalgia:

This is the title track that blends rap with pop. This track was only thought of after the record was already named.

Don’t Start Now:

This track has been dubbed the best of her works since “Be the One” off her self-titled debut album in 2017. This disco-pop song shows she will not rest on her laurels and is looking to aim higher. It also just keeps getting better after every listen.

Cool:

Dua is trying her hand at the 80s, and this track is aptly named. It reminded me of what the Weeknd has done with his latest album. The 80s disco is well in at the moment.

Physical:

I should probably look at the singles released off this record, but I have heard that this track is a massive hit among her fans, and they find that this pop song stands out on “Future Nostalgia”. It has got plenty of attitude, suggestive lyrics and synths with a drum beat that will send shock waves through your body.

Levitating:

It’s another disco track that feels like it belongs on the album. It’s much slower than “Physical” and much more laid back. The song is surrounded by synths, a typical dance beat and some very teasing vocals. There’s even some swearing in this track um hahahahaha. Snowflakes will recoil in horror. Awww.

Pretty Please:

From going full throttle with her vocals on most of the record, Dua eases off on this track, but that doesn’t take away from the fact it is a great song.

Hallucinate:

Some may disagree, but this track fits the house genre. When the drop happens, you have the typical house pulse and the iconic bassline. And why wouldn’t it be? It is produced by SG Lewis, who is known for his work, not only as a singer but for his productions in house, deep house, drum n bass and techno and being a DJ within those genres. It’s certainly a surprise at this point because there has yet to be a song so far that fits into club-based. I see this being a potential single and being played out in the clubs (when they finally reopen.). It would fit in very nicely into a Carl Cox, Mad Fingers, Anne Savage, Lottie or Fatboy Slim set. The lyrics even talk about meeting someone on the dance floor. You can’t get more apt for the club environment than that.

Love Again:

We now come to the longest song on the album, and there’s a very recognisable sample. It was also No.1 in November 1996 and was played to death. Wiley has also sampled it. It is White Town’s “Your Woman”. Although the sample is the strings of the chorus, it cuts into a dance track. It works, though and deems this song a success.

Break My Heart:

Her latest single, which again follows the disco path, includes an Australian band INXS sample. It is quintessentially pop, rising and falling, complete with a bridge and chorus. There’s a very poignant lyric in there regarding the current situation the world is in. Now, it’s without question she wrote the lyrics ages before the lockdown, but the verse is “I should have stayed at home”.

 

Good in Bed:

Haha, what a name for a song and if you can’t work out the suggestive lyrics, then there really is no hope for you. It is as clear as day. This is an early Kate Nash song with Dua’s own style added. It is also the only track with a comedic element on the record.

Boys will be Boys:

It’s pretty odd that as we approach the album’s end, the tracks have changed direction and become more risqué. While surrounded by strings, Dua talks about the opposite sex but still manages to keep it in line with the record’s narrative. It’s more of a dig about the inequality that still exists. It’s typical for Dua if I am honest with you, she is never too shy to give her opinions on anything, especially this subject.

Overall review:

I may be wired differently from everybody who listens to her songs, but although the album is very good, my standouts are not among the favourites with her fans. I preferred “Hallucinate” because it is house music and very suitable to include in a set at a club, and “Love Again” for its White Town sample, but then kicks into a dance track. What I like about the album is that this is a very different pop angle and gives a nod to the 80s. Not to mention, you have a house track, so Dua is bringing the dance scene back into the mainstream because, let’s face it, it has been gone for a very long time; it’s mainly sing-a-long, happy clappy shite. With this and the Weeknd’s latest record, we now see the pop charts changing yet again, bringing back the dance and club element. Will this album stand the test of time? Well, that all depends on her fans. I will not get all nostalgic and listen to this record in twenty years. I was really shocked when she wasn’t No.1 in the first week because this, by far, a much better

album than “C A L M”. 7/10

Week Fourteen: 5 Seconds of Summer- C A L M aka Calum Ashton Luke Michael

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5_Seconds_of_Summer_-_Calm

I looked forward to reviewing this as they did a few festivals last year, and the lads from Perth, Australia, were on point. However, they should have stayed as pop punk like they were with their self-titled debut album. Unfortunately, going into the pop arena hasn’t worked with them on this record, and it just sounds poorly produced. It’s pretty much like their previous album, “Youngblood”. This reminds me of that record, as there is little change in direction.

For me, 5 Seconds of Summer is falling into the same trap Maroon 5 did. Maroon 5, when they first got started, were releasing good songs like “This Love”, “She Will be Loved”, and “Sunday Morning”. Unfortunately, then they started making shite like “Moves Like Jagger” and “Phone Booth”. I don’t mind listening to early Maroon 5 material but since 2011? Forget it. I am saying that any song with the potential for 5 Seconds of Summer is being massacred and turned into dogshit. The band have said leading on from their previous record that their inspiration is drawn from the 80s, but I don’t know what section of that era because the songs are incredibly flat and underwhelming. It’s a shame when you consider the producers behind this project, Louis Bell and Andrew Watt, who have worked with Ozzy Osbourne, Halsey, the Chainsmokers, the late Avicii, Post Malone, Lana Del Rey, and several others to significant effect. Unfortunately, this falls into their most minor inspirational works category. I mean, not even U2’s Edge or Rage Against the Machine’s Tom Morello could add anything to this record because the producers, with all their effects, have pissed all over their contributions. I mean, let’s face it, Edge and Tom Morello are very unique in the way they play the axe and are fucking amazing too, but even they couldn’t rescue a lacklustre album. Maybe if the producers didn’t piss about on the songs they featured on, the album might be worthy of its No. 1 spot. It’ll probably get a lot of streams, but that could be people like me who are listening to make a review on it. The number of streams counts for nothing and needs to be a fair reflection of how well an album is doing. The sales of it could be a different story. I hope so; it’s awful.

What’s quite puzzling is that they are actually extremely good live and remind me of Muse. I am not a great lover of Muse’s studio material, but live they are in a different sphere, and those songs take on a life of their own. The same goes for 5 Seconds of Summer. Now, I was still deciding about giving them a chance live, but I was left really impressed with the performance and the interaction with the crowd. It also begs the question, are they with the correct label? Because they seem to want, the band to churn out generic pop shite rather than let them be as creative as they are live. 

I found “Thin White Lies” quite comical for its reference to cocaine, but the songs that really stood out for me were “Teeth”, which has a bass line that sounds like it was inspired by listening to Bloc Party or Maximo Park and “Lover of Mine”, which is the penultimate track for blending an acoustic guitar with dubstep. Those are the only genuine creative moments I heard in the thirty-nine minutes. I hope they consider their options for the next album and move to another label because this company stifles their creativity in the studio. Even though live performances are where it really matters, it helps to add some of what

you pick up on the road to your creativity in the studio. I can’t fault them live, but in the studio, there is much work to do, and they really need to work out what their identity will be on future albums. They need to leave this record label and find one that will let them bring their live qualities into the studio. 5/10