Conscious

Week 29: Eminem- The Death of Slim Shady (Coupe de Grâce)

~ honestopinions19 ~ Leave a comment

He titled it “The Death of Slim Shady” perhaps because he anticipates his alter ego will face repercussions for the controversial content of his latest album. 

Eminem is like marmite. You either love him or hate him. I am in the former category. I believe he has retained the same magic he had in his prime. He had a period of lull until 2010, when the fire in his belly reignited, and he stopped catering to mainstream pop.

His blend of dark lyrics and infectious choruses has always been his strength, especially on “Marshall Mathers LP 2,” which resembled its predecessor and the 2011 album he made with Bad Meets Evil.

Comparing to his previous record, “Music to be Murdered By”, one can’t help but notice Em’s shift in focus. He seems to be more determined to be the fastest rapper around, a departure from his previous style that many fans have come to love.

I may have mentioned in the earlier review that Slim Shady was making a comeback, but this album definitely solidifies that statement. This record embodies his alter ego from his early days, where he simply doesn’t give a fuck who he offends and goes after those who have pissed him off.

Who didn’t love Slim Shady? His alter ego was a breath of fresh air for rap and music in general at the time. Suddenly, we had an artist who was wicked, heartless, and offensive, yet with a hint of comedy. Everytime his words hit the microphone,  he caused controversy.

Eminem knows that his early records would be considered controversial in today’s culture. With “The Death of Slim Shady”, it seems like he is attempting to address that by revisiting his past and reflecting on the most controversial aspects of Eminem and Slim Shady.

No one is off-limits on this record. Em takes shots at and mocks a variety of individuals and groups, including trans, disabled, and dwarfs, as well as politicians, fellow musicians, and the late Christopher Reeves. Eminem challenges Slim Shady, the alter ego, on why he targets these individuals and groups. He reminds Em that his controversial nature initially propelled him to success.

Eminem questions why he was so controversial, and now, as a man in his early fifties, he is also in turmoil over whether to remain that way or be a bit more sympathetic. 

As the album reaches halfway , Eminem confronts Slim Shady and shoots and kills his evil alter ego. The question of whether it is all in jest remains, as he vows revenge for those he has annihilated on wax in the past. His lack of mercy for Machine Gun Kelly is evident, taking him out without hesitation. But beyond the personal drama, this album has a significant impact on the music industry. It’s a moment that will be remembered, a turning point in Eminem’s career. Therefore, I do not believe that his alter ego is six feet under.

My favorite is ‘Evil’. This is not for the faint-hearted. It showcases Slim Shady at his peak with controversial verses and impressive delivery.This is Slim Shady at his peak with his delivery and controversial verses.

In the song ‘Lucifer,’ Slim Shady is once again courting controversy by comparing himself to Satan. The song begins with Eminem realising that he needs to eliminate his alter ego because that aspect of his personality will not be suitable for his career in today’s world.

Guilty Conscience 2’ is where Em will kill Slim Shady because he has had enough of him and realises he is bad for his career. Slim Shady,a persona created by Eminem, goads him in the track, reminding him that through Slim, he had the power to say what was on his mind without thinking about the consequences. This relationship between Eminem and Slim Shady is complex, with Slim Shady representing Eminem’s darker, more controversial side. Angered by the constant goading, Em shoots and kills Slim. However, he then wakes up to realise it was just a dream. From here on out, the rest of the record was Em taking control and the end of Slim Shady. Returning to an earlier paragraph, is this the end of Slim Shady and a more caring side of Eminem? I do not think so. Expect Slim Shady to return on the next album.

I love that his personas haven’t spared snowflakes and Generation Z. We need some refreshing attitude to return to society. Of course, racism, fascism, and insulting people with disabilities are a bit far, but Eminem and Slim Shady have always been controversial. We need more controversial and outspoken artists in the current industry. If you didn’t like this record and were offended, then hahaha, too bad, Snowflake.

Song recommendations: ‘Evil’, ‘Lucifer’, ‘Guilty Conscience 2’

7/10

Week 21: Billie Eilish- HIT ME HARD AND SOFT

~ honestopinions19 ~ Leave a comment

Billie Eilish has released another album, produced by her brother Finneas. I respect him more because he is the complete package. The latest record is titled “HIT ME HARD AND SOFT” and has received positive feedback.

The album undeniably carries Billie Eilish’s signature style but also introduces something new and distinctive compared to her previous work. It is much more chilled out, yet she displays anger simultaneously. The album has an aquatic feel. What do I mean? It’s hard to explain exactly, but it has an element of being under the sea. Billie and her sibling FINNEAS somehow churn out earworm songs that inevitably turn into hits. The chemistry between them in creativity is something to behold. Somehow, they never lose that momentum.

Whether the albums are unimaginative is beside the point. She and Finneas always bring something fresh to their music while staying current with pop trends. At least one song will always resonate with the listener somehow.

As an experienced vocalist, she has changed her style. You can hear her elongate crescendos or hold her words longer at the end of phrases. This shows that she has adapted and gives her more room to keep the listener’s attention with originality. However, there is a balance; she stays moderate with this newfound skill. There’s nothing wrong with that, but it would make the listening experience rather weird. 

Recently, Taylor Swift released ‘The Tortured Poets Department,’ a record that has prompted comparisons with Billie Eilish’s latest work among her fans. Many argue that the production in Taylor’s album is ‘lacklustre’ compared to Billie’s. However, it’s crucial to highlight the unique collaborative process between Billie and her brother, FINNEAS. FINNEAS is credited with adding distinctive sounds that give the songs more depth and character. His talent for selecting standout sounds allows Billie to focus on her vocal delivery and lyrical content, with her brother leading the production. Additionally, FINNEAS occasionally contributes to the lyrics and provides backing vocals, showcasing the true essence of their creative partnership.

Of course, let’s not idealise the album too much. I might be praising Billie and Finneas, but sometimes the production needs to be less laid-back, which can make your mind wander. The lyrical content remains strong, and despite the underlying anger, the vocals match the tempo of the songs, creating a false impression of mellowness when the lyrics suggest otherwise. The young lady who currently dominates the UK singles chart with ‘Espresso’ will be releasing her 6th studio album soon, posing a challenge to artists like Billie and Taylor Swift. Sabrina Carpenter may have only recently gained attention, but she is ready to compete with Billie, Taylor, Miley Cyrus and Ariana Grande. I witnessed her growing popularity firsthand. Supporting Taylor during her “Eras” tour last year has also bolstered her fanbase. 

Song recommendations; L’Amour de Ma Vie, Chihiro, Bittersuite

8/10

Week 19: Dua Lipa- Radical Optimism

~ honestopinions19 ~ Leave a comment

Track-by-track:

End of an Era:

It’s quite an unusual title to begin the album with. Relationships, a whirlwind of emotions, are beautifully depicted in the first track of this album. ‘End Of An Era’ is a song that sparks hope and excitement for starting a new relationship and what lies ahead. With their profound meaning, the lyrics transport me to the feelings of a new kiss and the magnetic pull of two souls. I felt these emotions and more while listening to this song, which is why I found it captivating—not forgetting the warm Mediterranean Spanish guitar accompanying her. 

Houdini:

This showcases Dua’s vocal skills. “Houdini” is about yearning to be your lover’s key priority before you ghost them. It is quite apt that it is named ‘Houdini’ because the late Harry Houdini used to perform magic acts where he would vanish/escape. The lyrics convey positive and negative emotions about wanting to experience a love utopia. It has powerful vocals and a catchy melody, putting it up with her best work. It still is not my favourite, though, on the record.

Training Season:

The subject matter is the same as the previous track. The song discusses how we move from improving our self-esteem to preparing for a serious relationship.

These Walls:

This is one of the standout tracks on the album. It deeply delves into the complex emotions that surface when a relationship becomes difficult. The term ‘walls’ is a poignant metaphor, reflecting the desperate attempts to salvage a relationship that’s falling apart. In essence, it’s a heart-wrenching depiction of a relationship’s decline, a song that’s sure to stir up emotions in anyone who’s been through a similar experience. 

Whatcha Doing:

The song focuses on whether you want to be in control of your life or share your feelings with others. I found this to be autobiographical, as you feel that she doesn’t want to lose control in relationships because she shows too much emotion, which leaves her exposed and, therefore, she loses her power. This is something that we experience, whether it is in a relationship or everyday life. 

French Exit:

It is fitting that as we reach the halfway point, the tempo drops, and the title is quite apt, as ‘French Exit’ means when someone slips out of a social event without letting anyone know they are planning on leaving. I have been guilty of these because I find them bloody awkward, and a sense of guilt kicks in if I do not stay until the end. In this case, it represents deciding whether to end a relationship face-to-face or walk away and leave things unsaid. Dua seems quite familiar with a ‘French Exit’ and depicts it perfectly. 

Illusion:

You can understand why this is one of the singles from the album; it’s one of those tracks that sticks in your head. This time, the focus is on recognising when you’re being manipulated, but unfortunately, ignoring the warning signs and trying to maintain control because we want to build trust and a connection, even though we’re only seeing an illusion. A fitting title.

Falling Forever:

This track is the record’s highlight, demonstrating her exceptional vocal range and musical talent. The lyrics “Can we just keep getting better / Can we keep falling forever?” express the yearning to deepen love and sustain that feeling eternally. It’s a genuinely sublime portrayal of love. 

Anything for Love:

The intro sets the scene with Dua in a lively social setting, followed by a captivating piano solo featuring Dua’s powerful vocals. Despite the initial melancholic tone, the song quickly transitions into an upbeat rhythm with a strong beat. Dua passionately conveys her refusal to settle for a love that gives up easily when faced with difficulties. This short, lively track is truly one of my favourites.

Maria:

‘Maria’ depicts an individual who profoundly impacts us and contributes to better future relationships. This is based on Dua Lipa’s personal experience, and “Maria” has evidently helped her improve her future connections. The positive influence of this individual continues to be felt in the future. I am actively seeking out songs written from this perspective, and I applaud Dua for her portrayal in ‘Maria’.

Happy for You:

The album ends with a melancholic ballad acknowledging a relationship is over, and your ex has moved on. Unfortunately, you now realise what you had that is now gone. I can guarantee most of you have taken love for granted and then had that sinking feeling once it has gone, realising that you love them more than you expressed. It feels like a punch to the gut once the realisation kicks in, which Dua conveys through the lyrics and the delivery. It is an emotional end, but another favourite for how Dua defines the feeling.

Song recommendations: ‘Falling Forever’, ‘Maria’, ‘French Exit’

9/10

Week 17: Taylor Swift- The Tortured Poets Department

~ honestopinions19 ~ Leave a comment

Are you a fan of Taylor Swift? If so, you’ll be thrilled to hear about the release of “The Tortured Poets Department”. This album is eagerly anticipated by fans who loved her recent releases, “Midnights,” “Speak Now,” and “1989,” which included bonus tracks from re-recordings of the previous two. With Jack Antonoff returning as the producer and Aaron Dessner, the National’s guitarist, this album will surely be a hit. Featuring a mix of synthesisers, country/folk-inspired tracks, and piano ballads, it’s a return to Taylor’s roots and her intimate gigs in Nashville. The album has no significant hits, but the songs are perfect for those calming moments during her live shows. The lyrics are thought-provoking and melancholic, with the occasional use of foul language. Taylor also takes a shot at Matty Healy, the frontman of the 1975, with whom she briefly had a relationship, which adds an element of controversy to the album. My favourite is ‘Robin,’ but many tracks on the album have deep lyrical content.

Song recommendations: ‘Robin’, ‘Peter’, ‘The Manuscript’

7/10

Week 16: James- Yummy

~ honestopinions19 ~ Leave a comment

James is a band that has been around since 1982 and has a large following. Their latest album has finally given them their first No.1, which is impressive considering they have had nine albums in the top ten. The album is a mix of their signature sound and experimental and eclectic tracks. The collaborations on this album are impressive, and the mixing by Cenzo Townsend is top-notch. 

The album opens with ‘Is This Love’, which perfectly blends their quintessential sound with synths and Andy Diagram’s trumpet. ‘Life’s a Fucking Miracle’ is a deep house track that explores the ups and downs of life and then bursts into a grand instrumentation. ‘Better with You’ mixes disco with synths and continues the story of ‘Life’s a Fucking Miracle’ where the main character finds “the one”. ‘Stay’ is a powerful track that addresses mental health issues and encourages listeners to keep fighting against the condition. 

Chloe Alper, who joined the band in 2018, shines as a backing vocalist on the album, especially on ‘Shadow of a Giant’ and ‘Way Over Your Head’. ‘Way Over Your Head’ features Jon Hopkins on piano and Saul Davies on the violin and is a beautiful ballad about alcoholism. The album’s tracks ‘Mobile God’ and ‘Our World’ showcase the band’s unity and optimism. ‘Mobile God’ explores the issue of smartphones from the phone’s perspective, and ‘Our World’ looks to a better future. 

‘Rogue’ is a catchy song about rebelling against ageism, and ‘Hey’ is an experimental track that features gospel music and addresses conspiracy theories vs the media. The album closes with ‘Folks’, a powerful ballad about death. The album proves that James has improved since their reunion in 2007 and dared to go against the grain of what the music industry expects from them. The album is a must-listen for fans of James and anyone who loves great music.

Song recommendations: ‘Life’s a Fucking Miracle’, ‘Mobile God’, ‘Hey’

9/10

Week 15- The Libertines- All Quiet on the Eastern Esplanade

~ honestopinions19 ~ Leave a comment

In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.

The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.

Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.

Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.

After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.

Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.

The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.

Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.

‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.

‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”

The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.

In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.

I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.

Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’

8/10

Week 14: Beyoncé- Cowboy Carter

~ honestopinions19 ~ Leave a comment

The media has been excessively hyping up Beyoncé’s latest album, “Cowboy Carter”, which her massive following eagerly anticipated. Despite the endorsement of some well-known country artists like Dolly Parton, Willie Nelson, and Luke Combs, the album fell short of the high expectations.

This is the second part of a trilogy that Beyoncé is producing, and the album features 27 tracks with a runtime of almost 80 minutes. It’s a collection that could have been a country music masterpiece, with big names like Dolly Parton, Willie Nelson, and Miley Cyrus, and Paul McCartney on a cover version of ‘Blackbird’. However, it doesn’t quite live up to its potential.

The 27 tracks are filled with pointless interludes that add nothing to the album. Although some of these interludes are meant to be like radio DJ introductions, they add nothing to the album but make it feel like a tough listen. I wish there were more complete tracks instead of these inane interludes. By the time I finished listening to the album, I was relieved.

There are a few good moments on the album, such as the lyrical content and the guitar and harmonica played by Stevie Wonder on the ‘Jolene’ cover. However, using autotune on some tracks didn’t work for me, and Post Malone’s track with Nile Rodgers was also a letdown. I didn’t like the cover of ‘Jolene’ either. It didn’t do justice to Dolly Parton’s original version.

In conclusion, I didn’t enjoy “Cowboy Carter” and wouldn’t recommend any specific tracks. The album isn’t worth the hype it’s been receiving, and I am disappointed with its overall quality.

5/10

Week 13: Elbow- Audio Vertigo

~ honestopinions19 ~ Leave a comment

I am not the biggest fan of Elbow’s music. I avoid it because I do not understand all the hype around them. This is the band’s 10th studio album and their first in 3 years. I am going to surprise you and say that I liked this one. It was the most un-Elbow record I have heard from them. I heard elements of old-school Kasabian, indie, Royal Blood, and funk.

My research said that the band worked hard in the studio last year to have this released early this year, and they decided to experiment this time rather than stick to their usual tried-and-tested method. The lyrical content has dark humour, usually related to romance. The opener, ‘Things I’ve Been Telling Myself for Years,’ immediately surprised me. I was surprised to find fuzzy guitars and a song with plenty of instrumental attitude. 

Another highlight was ‘Balu,’ which, with its bongos, horns, synths, and driven guitars, somehow still managed to have a rock-n-roll edge.

I liked the bassline on ‘Very Heaven’ with the drumstick count-in at the introduction. The guitars are more mellow on this one. The whole track is easygoing, as Guy Garvey’s vocals are more in the spotlight.  ‘Her to the Earth’ focuses more on keys. Again, another funky track. ‘The Picture’ is a sublime rhythmic drum beat over heavy guitar riffs and a key break. ‘Poker Face’ is one of the shortest on the album and a rare break from the record’s intensity. ‘Knife Fight’ is another highlight, and this time, it has warm and rich guitar riffs and lead guitar that are in focus.

“Audio Vetigo” is a huge departure from your typical Elbow wall of sound. It has shown their ability to adapt and get their name back in focus. I will still not become a fan, but I liked this one. I hope for more of the same, then who knows?

Song recommendations: ‘Balu’, ‘Things I’ve Been Telling Myself for Years’,  ‘Knife Fight’

8/10

Week 11: Ariana Grande- Eternal Sunshine

~ honestopinions19 ~ Leave a comment

Let’s dive straight into the track-by-track review:

intro (end of the world):

This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.

bye:

From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”

don’t wanna break up again:

Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.

Saturn Returns Interlude:

Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.

eternal sunshine:

We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.

supernatural:

Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.

true story:

She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.

the boy is mine:

Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.

yes, and? :

This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.

we can’t be friends (wait for your love):

As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.

i wish i hated you:

There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him. 

imperfect for you:

This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.

ordinary things (ft Nonna):

As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on. 

Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’

8/10

Week 10: Liam Gallagher & John Squire- Liam Gallagher John Squire

~ honestopinions19 ~ Leave a comment

As you know, the Stone Roses guitarist John Squire joined Oasis onstage in 1996 at their iconic Knebworth Park shows to play lead on ‘Champagne Supernova’. He also repeated this on Liam’s return to the venue as a solo artist in 2022. Back when John was rehearsing the song with Liam, John mentioned that he was in the process of writing an album and needed a vocalist. He said that Liam’s vocals would be ideal, and from there, Liam listened to the demos and decided he would be interested in collaborating with John. Liam grew up a Stone Roses fan, and in the earlier Oasis recordings, his vocals sounded like Ian Brown. The duo would head over to Los Angeles to record the self-titled album in the studio.

Of course, the project only came to light during the first month of the new year, when the duo released their first single, ‘Just Another Rainbow’ —a typical Stone Roses-esque song.

Once it was confirmed that the duo was releasing a record, Liam described it as Stone Roses and Oasis in their prime. When you listen to the album, that is certainly evident. As you can imagine, there are many Beatles, Rolling Stones, The Who, et cetera, within the songs because those bands heavily influenced both of them.

As well as being a nostalgic record filled with romance, there are modern references in songs like ‘I’m So Bored’, where John attacks modern technology, expressing that we tend to live in our phones rather than connecting with the real world.

You can tell Liam and John had fun on the album, with Greg Kurstin on production. Many Liam’s fans complain about it not being full-on rock n roll. It was never meant to be. Stones Roses are more psychedelic, so this would always lean heavily towards that. Apart from finding the lyrics cheesy, I also found them quite basic, and Liam’s vocals feel strained and nasal over the music. John is excellent as always and has retained his ability to show his axemanship. It wasn’t my cup of green tea, but good luck to them.

Song recommendations: ‘Mars to Liverpool’, ‘Just Another Rainbow’, ‘I’m So Bored’

7/10