Conscious

Week 17: London Grammar- Californian Soil

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As you can imagine, Hannah Reid is once again a critical group member, and I especially liked her vocal performance on ‘Intro’. Many told me before I got the chance to listen and review this album that it had a hint of Clannad about it. Considering Hannah’s Celtic roots, this didn’t surprise me, but I’m afraid I have to disagree with most of their assumptions about this record sounding like Clannad. Yes, ‘Intro’ does sound like a Clannad track used for a soundtrack or otherwise, but I didn’t see much else resembling Clannad’s inspiration. Another three to four songs, but that’s about it. 

It differs from the last album from 2017 because it flirts with experimentation more, adding more orchestral, Celtic, and cinematic sounds. There is a touch of ambience in the album, too. Now, remember I spoke about ‘Intro’ sounding like Clannad earlier? Here’s why. Although Hannah doesn’t sing, she still uses angelic vocalising with her voice while chiming bells, strings, vinyl crackles, and a haunting Celtic ambience dances with her vocalising. Its cinematic feel is glorious to listen to in surround sound and sends chills down your spine with its haunting. It would be ideal for a film based on Celtic folklore. Clannad may have heard this track and might be interested in working with Hannah.

Hannah’s vocals do not deviate much during the entire album. The record then goes from ‘Intro’ to the ‘Californian Soil’ title track. Many have drawn comparisons with Massive Attack on this. 

Still, as always going against the grain, I found some other artists I felt drew more comparison in Alanis Morrisette. Why? Because to me, the riff sounded more like her 90s hit ‘You Oughta Know’ not because of the aggressive vocals or subject matter, but just that. 

After that, a record is packed with Hannah’s trademark vocals, sometimes angelic vocals, synths that are so relaxing you fall into a trance, strings, Clannad-inspired melodies, and sometimes the guitar riff makes an appearance. 

Because of the calming and light instrumentation, you could also draw comparisons to My Morning Jacket. Like the American band, London Grammar has allowed you to sit back, stare at the ceiling, or close your eyes and dream of entering another realm.

Of course, aside from their generic sound, ‘All My Love’ is a cinematic ballad, and ‘Closer America’ is more melancholic than what they usually do. The latter is about chasing the American dream and crushing it with brutal honesty. 

However, I will close on the trackside of the review with ‘Missing’. When I heard this, I instantly thought of Zero 7’s ‘Destiny’ with its downtempo, which felt precisely like the 2001 track. Still, Hannah’s vocals mirrored Sophie Barker’s and Sia Furler’s (Yes, THAT Sia Furler. She came over to England in 1998 from Australia. In fact, it is worth listening to some of her earlier work like ‘Little Men’ and ‘Drink to Get Drunk’). Not only have you got a sense of Sophie and Sia in it, but I am going to say the great Sadé, too.

The lyrical content is centred mainly around Hannah’s fight with feminism and the sexism and misogyny she has encountered many times since joining the industry. It gives more energy and passion to the record because it lets her emotions shine through with conviction. 

The record is quite melancholic for the group, more mature than the previous records, with some tracks fit for a film soundtrack, inspired by Hannah’s Celtic roots and subject matters that need urgent addressing, like the sexism towards women that is still experienced by many within the industry to the present day. As for the Clannad connection? It was less heavily influenced than some people have made out. Like I said, three to four tracks at the maximum.

Song recommendations: ‘Intro’, ‘Californian Soil’, ‘Missing’

7/10

Week 15: the Snuts- W.L.

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This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound. 

Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines, among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.

The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix( Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night). 

Tony Hoffer travelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a more professional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.

‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.

I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen to it now. However, I like a good story in my songs, and this one is no exception.

Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of an autobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhat blurred)and having hopes and dreams of making it big with their music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.

 It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.

Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”

9/10

Week 14: Ben Howard- Collections from the Whiteout

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Ben was among my first followers when I joined Twitter in 2009 (THE first, if I remember correctly.). I remember seeing this long(ish)brown-haired fellow with a guitar…of course, I instantly followed when I saw he was in the arts, and I can’t remember if he inboxed me, but I remember a link to his latest song was involved and he asked me to give it a listen. Little did I know, he was on television the previous year, but I didn’t watch the programme about showcasing up-and-coming talent. It was now some defunct channel on Sky under the music package (Entertainment package?), which introduced me to plenty of up-and-coming talent like Chip, who was then known as Chipmunk and was still a teenager. The channel in question was either called Muzik or FlashTV. The show Ben would have been on was filmed weekly from the Old Oak in North-West London. After hearing the song in question, I became a follower of his music as I was very impressed with his melancholic vocals, guitar playing, and songwriting ability. Unfortunately, he has flown under the mainstream radar because he isn’t known as much as someone like Ed Sheeran. Ben is more on the same commercial level as Ed’s mate, Passenger. 

However, Ben is highly talented. It seems unfair that he has largely gone by in the commercial market.

Unlike Ed, Ben likes to stay with familiarity, which has probably seen him less prominent. However, the Richmond Songwriter’s debut album “Every Kingdom” in 2011 did have platinum sales.

Ben is about to get more adventurous as this record is more like swimming with sharks outside a protected cage rather than having the security of being inside one. The album reminded me of the late John Martyn’s work with its roots in soft Jazz. Aaron Dressner, who plays the guitar for the National, has encouraged Ben to take a leaf out of their book. Indeed, the National is known for loops and many guitar effects, which can be heard on this record. So, it was the correct decision to get Aaron on board to push Ben artistically.

Of course, Ben hasn’t strayed that far from his subject matters of conscious stories either of his own life or what he has heard during conversations, from individuals, places he has been, or simply by watching television or reading, and of course, based upon his imagination. The stories range from a conversation with a friend who found a dead body in a suitcase floating down the Thames, the death of a sailor and Anna Sorokin, the Russian fraudster. So, a lot has stayed the same regarding the type of songs he writes and the lyrics. As you can see, Ben is still on heavy and gloomy subjects.

Despite new ideas dreamed up with Aaron, Ben does go back to what he knows with “What a Day”, which draws familiarity with tracks off “Every Kingdom”, his debut record. Even though Ben has taken a new direction, he has managed to make the simplicity of his songs come to life on this album, which shows on “Metaphysical Cantations” or “Sage that She was Burning”. “Buzzard” is quite intriguing. By far the shortest track on the record, weighing in at just 56 seconds. I like how Aaron and Ben have got the guitar to ape what the bird sounds like. Could it have been longer? I can’t see why it couldn’t have been at least another minute or so.

“Follies Fixture” is my favourite track and surprised me with its soft Jazz and melancholic lyrics. Like I said earlier, most of the album had a John Martyn feel, and I noticed this track opens the record. I may have said “Buzzard” closes the album, but on the deluxe version, there are edited versions of “What a Day” and “Sorry Kid”. I want Ben to pick up the electric and release his inner rock star on his next album. I hope that by working with Aaron and conjuring up original ideas to make the songs stand out more sonically, Ben can get the recognition in the mainstream, which he deserves because he is more than easily a match for the other acoustic-wielding songwriters and musicians.

Song recommendations: “Follies Fixture”, “Sorry Kid”, “What a Day”

7/10

Week 12: Tom Grennan- Evering Road

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What a turnaround in fortunes for Tom. Once, he had a budding football career that caught the attention of his local club, Luton Town, but he was let go at a young age. He then embarked on his next passion, singing, and his debut album, “Lighting Matches”, was very successful. Indeed, Tom’s song “Found What I’ve Been Looking For” became the official anthem for Sky Sports Super Sunday coverage and was featured on the FIFA 18 soundtrack. However, he had another final chance at football when Luton Town’s former manager Graeme Jones offered him a trial in August 2019, just as Luton Town was starting the campaign in the SkyBet Championship since 2008. He is still singing and has released his second tells me that it wasn’t a fruitful trial at the Brache training ground.

The second album is called “Evering Road”, named after a street in Newham, East London. It is also where Tom lived with an ex-girlfriend. Was that before he got fame or after? However, he grew up in London as well as Bedford. As Tom hit his mid-twenties, he changed it up with “Evering Road” and made this record about his break-up with his ex-girlfriend from Newham, with whom he spent three years. He candidly discusses his toxic behaviour and thanks her for helping him learn the errors of his ways in this audio letter of apology that spans over 14 tracks. The record reflects the volatile relationship rather than Tom passing blame or asking for sympathy for his diabolical attitude. Tom has laid this record out to perfection; it is laid out in the order a story of the events that took place would have happened. 

So, not only is this album an audio letter of apology, but it is also an autobiography. In other words, it is more like reading a book on this period of his life and, therefore, flows. Imagine when the live music world opens up again and hearing Tom perform these songs at Capital Radio Summerball 2022 at EE Stadium. Songs like “Little Bit of Love” are one of his singles, and they are very punchy pop that’ll get the crowd singing along. Then, you have “Something Better”, with its jumpy piano and soulful backing vocals, with the latter adding layers to the track, making it sound fuller.

In “Amen”, Tom has an almost gospel-like texture when discussing never going to church. Still, the Hozier-esque track is more about his struggles to make decisions that his heart is in rather than just making them without consideration. The song starts to lose its power towards the end, but then Tom turns it back on with his vocals and a message that’ll be open to interpretation by the listeners. When the tracks seem waning, Tom plays to his strengths to keep the listeners engrossed. “Oh Please” has a funk vibe, but the lyrics make the track stand out because Tom’s attitude has changed for the better. Rather than being angry and having a chip on his shoulder, he becomes more mature and shows humility.

Of course, you have an album that sounds familiar to the debut; Tom has drawn on many artists who inspired him this time, on many genres and producers. As we have discovered, “Evering Road” is an audio letter of apology, and that comes across with pinpoint accuracy on “Sweeter Then”, which is a reflection on the many beautiful summer days he spent with her, and “Make up My Mind”, which is about confessing that he didn’t know what he wanted from the relationship. Instead of being honest, he tried to fight on without knowing how he felt. However, my favourite might be somewhat of a cliché is “Let’s Go Home Together”, featuring Ella Henderson.

This song was co-written by Ella with James Arthur and performed live with the two writers in question, but for some reason (Let’s face it, it isn’t a bad choice.)Ella elected to do it in the studio and on Tom’s album. You can hear an acoustic guitar playing while Ella exchanges verses with Tom and then sings the chorus in unison while playing a gentle piano ballad. As much as the track is romantic, it is laced with cheeky lyrics and innuendos. What is odd about the song is that it is about a couple who have met in a bar/pub/nightclub and, upon exchanging a few words, find that they haven’t much in common, but once they are tipsy, they find each other quite attractive. Maybe this is how Tom felt about his ex, or he has discovered a new love interest in this manner.

Nevertheless, I enjoyed this track, and the cheekiness of it all was a lovely refrain from the usual heavy subject. It’ll be interesting to see where Tom goes from here because this is night and day compared to “Lighting Matches”. A more mature approach shows another side of him and for the better. He has addressed the issue and is learning what it is like to be an adult.

Song recommendations: “Let’s Go Home Together”, “Sweeter Then”, “Amen”

8/10

Week 11: Kings of Leon- When You See Yourself

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My first introduction to the band from America was in 2009 when “Sex on Fire” was heard in pretty much every nightlife establishment you went into. Indeed, my friends and I sang it at the top of our voices and even changed the words to go with an ex-Newcastle United footballer. I’m sure others sang it that way before us. The old “Yourrrr Temuri Ketsbaia”. Now, Kings of Leon are very much like Bush. Why? Because they are popular everywhere else except in their native land. Bush is from London, but their Grunge sound never stood a chance when Oasis and all the other Indie bands came along. Because people over here were not so much into listening to Soundgarden and Nirvana at that point, the same could be said of Kings of Leon. When they came along, America wasn’t interested in listening to a band whose sound was more attractive to the European market. Unlike the Killers, whose sound was very much inspired by Oasis and the Smiths when they first started to make inroads and gradually started to win over fans from their homeland, America never took to Kings of Leon, and as far as I know, that is still the case. I am in the minority regarding the band in Europe because I am not a fan. I liked “Sex on Fire”, but that’s it for me. 

I am going to quote my friend Tommy about Kings of Leon. I told him I listened to the new album and told him to listen because he would be surprised by some of the songs. He told me he would make a conscious effort to listen to it because the band are no longer kids anymore and is more mature. Now, I concur. When you listen to the lyrics, you can hear their maturity. They’re no longer singing about getting drunk and living that wild life.

The opening track is the title track, but the title is slightly different from the name of the record. It’s called “When You See Yourself, Are You Far Away.” immediately upon listening, the track got my attention because of the Jaws-like sound to it (Jaws the band, by the way.), you can also hear an electric guitar plucked throughout, which sits nicely rhythmically, and a xylophone, which I would never have associated with the band using. I then highlighted “100,000 People” to Tommy because it’s a slow plodder with a dreamy chorus that sounded Indie, and then a synthesiser that you would associate with the Killers, so you can imagine Brandon Flowers being all over it. Then, there is the “Golden Restless Age” because it sounds like the War on Drugs. Apart from that, the rest of the album sounds like Kings of Leon with more grown-up subjects. However, those three tracks I mentioned to Tommy caught my attention, and for those fleeting moments, I enjoyed listening to the band.

Because of those three tracks and the departure from talking about sex and whiskey all the time, there is something to look forward to in the future from the band. They have shown that they are ready to tackle more sobering issues and are willing to dabble with the sound. If the band makes something entirely out of the ordinary next time, they show they aim to be around for another decade. Who knows, they might get America on board and remove the stigma of “They’re a band for the Europeans with their Indie Rock.

Song recommendations: “Golden Restless Age”, “When You See Yourself, Are You Far Away”, “100,000 People”

8/10

Week 8: Slowthai- Tyron

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What is there to say about the lad from Northampton? He’s a ball of energy that rubs people up the wrong way, and his antics have landed him in trouble, most notably at the NME awards, where he later made a statement saying it was all in good nature rather than malicious. They should have known what to expect from him after the release of his debut album “Nothing Great About Britain”. Even the title would upset those flag-waving loon balls. It had the spirit of Punk in it and has been described as an updated version of the Streets’ classic debut “Original Pirate Material”.

It’s worth noting I am not a fan of Slowthai’s music, but I respect his lyrics and his persona in general, so I will try my best to give a decent review on “Tyron”. Since the first album, he has been out on the road with Liam Gallagher supporting “Why Me. Why Not”, which has garnered him more fans, but enough of that. The record is extremely short, considering it’s a double-disc at 35 minutes or thereabouts with seven tracks on each disc. For most of the first disc, Slowthai is consistent with what we saw on the first album and most of the tracks he collaborated on. There’s still that punk spirit and aggressive attitude blended with hard-hitting bars. However, “I Tried” is inspired by West Coast American rap from the 1990s. Even for a relatively short song, clocking at just over two minutes, it gets his message across, and the production compliments it.

I should have stylised the song as mentioned earlier as “I TRIED” because Slowthai defines the two discs by capital-lettered tracks on the first and lower-case lettered tracks on the second. It doesn’t reflect his mood in any way, as he still keeps up the levels on both. 

Unfortunately for Slowthai, it could also be interpreted as the caps side is, well…shit and the lowercase side is an improvement from the first half. I would describe the album as schizophrenic in that regard. I’m sorry, but I am, by and large, not a fan of most rap out of America at the moment, and that’s precisely what the first disc sounds like. I don’t think he wanted that. Instead, it was forced upon him because that is what sells now. It ruins “CANCELLED” because it doesn’t fit into his flow and delivery. It needed to be harder and have a grime or drill instrumentation. I want to hear that from rappers on this side of the pond. For me, it makes it more authentic. I don’t want to fucking hear Drake-style production over here. The only time this works is when Slowthai collaborates with an American rapper. For instance, A$AP Rocky on “MAZZA” because he is used to rapping over those beats, and it works, but Slowthai’s flow seems unsuited to it. I mean, there’s a track early doors he does with Skepta, and it’s just fucking awful because the wrong production was chosen. Again, it should have been a grime or drill beat.

Of course, then you have tracks like “WOT”, which is Slowthai in his original form at his very best. No shitty American beats ruining the listen. Although the aggression and the attitude are still up, because of the use of the American rap commercial beats, a lot of the Slowthai temper is nullified, and therefore it doesn’t add to his sound. Overall, the first half of the album is very disappointing. However, in the second half, the American beats are at a premium, and we get to see Slowthai being sincere yet laid back, a change from the angry side we are used to seeing. The bars are even more thought-provoking.

I especially liked “Push”, which featured Deb Never, as Slowthai brings some conscious bars over soft beats throughout the second disc. Deb Never is one of the most unlikely collaborations you would think of to be on the record, but as Slowthai gets more relaxed, the collaboration fits quite nicely. On more of his aggy material, it would look entirely out of place. 

However, with it being such a short record, you need to remember what you heard on the first disc, so you have to listen again to recall what happened. You have to commend him for an original approach, even though he does fall victim to the shitty commercial American rap and RnB beats that never saw the light of day on his debut. It’s great that he has evolved and is forward-thinking, but that aggression has yet to be lost here by the watered-down beats. I enjoyed the second disc more than I enjoyed the first. The more relaxed and serene side is great to listen to; if only the songs were at least four minutes long, he has plenty to say, and it’s great hearing his many fables of the struggles of life and his social commentary. As I said earlier, he isn’t my cup of chai, but I respect him for what he says and does; he is very much like the late Joe Strummer with his outlandish comments and unapologetic attack on the establishment. It’s apt that he supported Liam Gallagher when you come to think of it. Both of them have the same outlook and energy. It will be interesting to see what Slowthai does with his third album because he has shown that he dares to change it up and keep the listener interested. The best body of work I have seen by Slowthai is on Mura Masa’s “Deal wiv It”. Give that one a listen.

Song recommendations: “push”, “adhd”, “WOT”

6/10

Week Twenty-Eight: Paul Weller- On Sunset

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It is absolutely amazing that the older the Modfather gets, the better his music gets. Before 2005, he had a mini-slump as we entered the 21st century, but not as bad as being almost the forgotten man for a bit in the 1990s. He did jack it all in after 1989 when going through turbulent times since the Style Council split. In 1991, he went back out on the road playing small venues, to begin with, as a solo artist, but it sounded more like a band called the Paul Weller Movement. He then released his self-titled debut album in 1992 and once again was being talked about for the great songwriter that he is. Still, it was his second album “Wild Wood” that really got him back in the limelight, not to mention the praises of a young, fresh-faced songwriter called Noel Gallagher (Who is still his neighbour at present in Little Venice despite Noel trying to sell his London home.) who happened to be in a band called Oasis who were leading the movement back in 1994, which got Paul new fans and at present, the momentum from that year is still carrying Weller through. Yes, he had three disappointing albums to begin the 21st century by his standards, but since “As is Now”, Paul has had the fire in his belly to prove he’s still one of the greatest songwriters in the world.

He has also had a philosophy of not looking back since 2005 and has dared to experiment on every album thereafter. “On Sunset” is no exception. Instead of sticking to the sound he once mastered, he has added vim and zest with his experimental endeavours. They usually say, “If ain’t broke, don’t fix it.” However, in music, you need to change with the times and push yourself to try new ideas rather than stagnate. This is why most songwriters disappear from the radar because they are too comfortable. Weller is willing to try new and exciting things to let everyone know he is still working and stamp his authority all over the industry.

Weller has changed up the tempo for this record; as we all remember, “True Meanings,” his last album from two years ago, was very reflective and simplistic. However, “On Sunset” is a departure from its predecessor and challenged him, but from what I heard, it’ll bear fruit for the Modfather in the long run.

The record begins with “Mirror Ball”, which I would describe as a three-in-one track because of the number of genres included. It goes from psychedelic, experimental, sub-bass and then, as the seven minutes approach, back to how it began. I could see the likes of the Chemical Brothers, Toydrum or Amorphous Androgynous remixing this, but Weller is more than confident of having a go himself as he gets bolder these days.

Most of the album, which was recorded at Black Barn Studios in Surrey, has a very summer feel to it when it was probably recorded during the cold winter of this year and last year. The whole element of funk and bass adds to that summer effect. However, towards the end of the record, we have tracks like “Equanimity” that sound more like he did back in 2000 compared to what he has been doing for the last fifteen years of being very experimental in the studio.

The title track is sound, but I don’t know if the final mix was supposed to have the effect of the Modfather’s vocals being overpowered by the strings to accompany them. It seems odd that Weller’s vocals are very feint.”Bapiste” reminds me of his track “Wild Wood” from the early 1990s when he dared to go solo, and it feels like a song dedicated to his passion.

The production is a bit much, but the lyrical content more than makes up for it. I’ve heard some bullshit in recent years that the Modfather is no longer a force with his songwriting, but after nearly 50 years in the industry, I disagree. He has always retained his ability to write songs; even those first three albums of the 21st century still had gems on them, although fewer. I loved “Rockets” as Weller once again gets political and takes a swipe at the sorry state of current affairs. He was also clearly inspired by the late David Bowie, as it sounded a bit like Bowie’s Ziggy Stardust era.

“More” indicates what Weller plans to do from here on in. “There’s always something else in store, keeps me running down that road.” if that isn’t a clear indication, then I don’t know what is. Weller is not planning to retire any time soon and is still hungry for more accolades among the many others he has received over the decades. 

Once again, the Modfather has stamped his authority all over the industry and is not paying attention to those who think he should be in the garden of his Little Venice mansion, having a cigarette with a pint and reflecting on all the milestones he has reached. I look forward to another experimental album to follow this.

9/10

Song recommendations: “Rockets”, “Mirror Ball”, “More”

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 Seventeen: Gerry Cinnamon- the Bonny

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

Canter:

I found out via an interview by Gerry that Canter actually is Glaswegian slang for easy. Now, being a Celtic supporter, I was amazed I didn’t know that, but somehow, I still understand what Gerry is talking about in his songs. I can watch shows like Still Game and understand most of the Glaswegian slang used. Anyway, the song is basically about how not to take things too personally and to trust your instincts; as the track points out, “Things will only get better, if only you could stop being wee less of a wanker”, or lyrics to that effect. The fans who saw him at festivals and concerts last year already knew the words before it was recorded.

War Song Soldier:

A very touchy subject is discussed in the song, but even though Gerry finds it challenging to talk about the issue, he feels the only way to express himself is to write and record it through the medium of song. That’s probably how 90% of musicians express themselves, as they find talking about darker periods in their lives too much.

Where We’re Going:

When I heard this, I felt it was a cross between the Cure, the Smiths, Johnny Marr and Morrissey with its musical style. Again, Gerry is digging deep within his soul as he talks about hitting rock bottom and trying to get through the other side, no matter how tough. He believes that if you can see a future, you can escape. I like it. It’s based on reality.

Head in the Clouds:

This song wasn’t written by the time Gerry returned to record this record but was written in just three days. The song matter is about his struggles with insomnia and how after being deprived of sleep for three days, he finds it hard to function and concentrate and therefore, the things he wanted to do all turn to shit. However, as the song progresses, you get confused and start hearing a love story emerging, and you’re thinking, “What the fuck? I thought this was about an insomniac?”. By the song’s end, you realise it is about someone in love but can’t handle the prospect of getting hurt, so they want to run rather than give the love a chance to unfold.

Dark Days:

The title is misleading but, at the same time, very apt. It talks about being able to smile and enjoy life even through the dark times that either surround our environment or our own personal circumstances. Quite apt, we are surrounded by wars, corrupt politicians, and a global pandemic.

the Bonny:

The title track is actually about chasing your dreams (No matter how crazy.) and not giving a fuck about people putting them down and building on them to see the dreams come to fruition. The song is also part of a trilogy that began on his debut 2017 album “Erratic Cinematic”. It begins with “What Have You Done” and then starts on this record with “Canter” and ends with this song unless Gerry is going to surprise us with part four on his third album.

Sun Queen:

The verses are about wasting your time and caring about things that mean fuck all, and the chorus is about focusing on the things that really are worth your time and energy.

Outsiders:

I have interpreted this song because you have your mind and do your own thing, no matter what anyone tries to tell you what to do and how to think. It’s like not following what everyone else does and becoming brainwashed by what they are being fed in the mainstream. There are even lyrics within the track where Gerry mentions that even though there are times when he can’t be fucked with making music when he hears his fans repeat back his lyrics to him, he believes in himself and music once again because the fans make it all worthwhile. Gerry said that he was given “Outsider” as a nickname, but instead of taking offence to the term, he has embraced it and sees it as a compliment. The song has a combination of Green Day and Oasis. The melody reminds me of Green Day’s “Know Your Enemy” and the riff like the bridge on the acoustic version of Oasis’ “Supersonic”, which Noel Gallagher performs these days with just Chris Sharrock striking a tambourine and Mike Rowe supplying the solo on the keyboards for Noel Gallagher’s High Flying Birds.

Roll the Credits:

This plays out like a typical early 1900s film about a couple splitting up and saying goodbye on a train platform with tears in their eyes.

Mayhem:

Although Gerry carries on playing the acoustic guitar, rather than switching up to electric (Maybe the third album?), this song has a club feel to it with its pulsating kick drum (Well, the second part of it, anyway.). The beginning, though, suggests the track takes on a Latin vibe.

Six String Gun:

The title is likely a nod to Gerry’s favourite weapon (The guitar, obviously. Henceforth, “Six String Gun”.). However, the premise is very different and discusses how to be a better person even in situations where that is extremely difficult and by showing yourself as a good individual, you will get taken advantage of. Especially in the industry that Gerry is in.

Every Man’s Truth:

This is a great way to end the album, as it discusses ideologies that we all share and whether the truth that we think we know is indeed genuine or if those who open their eyes to the world around them and don’t fall for all the bullshit that’s fed in the main are the individuals who are actually seeing what’s really hidden? The song, bizarrely, doesn’t appear to have a chorus until the end. Gerry has gone on record by explaining that “Every Man’s Truth” is about addressing the truth that we really don’t know and how everything we hear, read and see isn’t always accurate (Corrupt politics for a start.). He says that our opinions are only borrowed or forced onto us through the mainstream media and that what we believe is sold to us through our own biases and follows us from the cradle to the grave. This appears to be a dig at the secret council known as the Illuminati (You know? The all-seeing eye, pyramid folk?). Whether he does believe in that or not, I do not know, but he leaves it open to the listener to do some research or ignore him as a nutter. It’s worth looking into; from there, you can make up your own mind. Gerry says that the acoustic guitar is more honest when you’re writing and revealing the song, but I would like him to bring some electric guitar to his next album, but that’s entirely up to him.

Song recommendations: “Where We’re Going”, “Outsiders” and “Every Man’s Truth”.

8/10

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