I don’t know how the title is pronounced (Tansk?), but you will be surprised. As I have mentioned in previous reviews, I dubbed the band “Energetic Rebellion”; however, this time, the band have kept some of that but has resorted to talking about parenthood, love, relationships, and political matters. Yes, there were smatterings of romance on the previous records, but this one steps it up to a level I wasn’t expecting. The volume has also dropped to a chilled vibe, matched by Joe Talbot’s relaxed vocals.
‘Roy’, for example, is more akin to soul. The opener, ‘IDEA 01, ‘ sounds ethereal and reminds me of Lana Del Rey’s style of music. ‘Dancer’ is one of the singles that features LCD Soundsystem, and you can hear that on the track. It isn’t of the iDLES ilk.
Of course, let’s not forget the band returns to their routes on tracks such as ‘Hall & Oates’, which is my standout from the record. I felt chilled out until that track came on, and I was shocked back into the room. Joe also aims for the royal family on ‘Gift Horse’, declaring his daughter is more important than someone in a bejewelled crown.
I know this album will have many mixed reviews because we expect the band to be full-on energetic rebellion, but this one takes it easy, and some people will hate that they have. For all that, the band have shown they can escape their comfort zone and show versatility. As I said, it is a record that is full of surprises. I certainly didn’t expect it. I would describe it as the band rolling a joint and taking it easy as they enjoy the weed. You could also say the band is on a comedown after experiencing an energetic high. One good thing from this is that the band will no longer be pigeonholed into just one category.
Song recommendations: ‘Hall & Oates’, ‘Gift Horse’, ‘Dancer’
I was astonished to discover that “Stick Season” was released in 2022, with the latest single ‘Homesick’ released last month. The album is named after autumn before the snow arrives in New England.
In 2020, Noah teased the title track on TikTok, which inspired many covers, several reviews, and comments by the likes of Maisie Peters, who I reviewed last year.
I don’t know much about Noah, but his first two records were quite poppy, whereas his third effort is all-out folk. This album is almost certainly folk. It sounded like a combination of Mumford and Sons, Hozier, Lumineers, and Vance Joy. Noah said in an interview that this is the kind of music that he prefers to do. God knows why, then, the first two records were pop. It’s probably pressure from the label for marketing purposes.
Along with Gabe Simon, Noah himself is on production. That doesn’t particularly stand out for me because folk is easy to listen to. It’s the songwriting where this album is at. You would think, as this record was done during the midst of the lockdowns, that it would be centred around that, but no. Noah chose a more reflective album where he wants to leave home, longs for home, and deals with the unfinished business of returning.
He addresses several subjects, including mental health, such as ‘Growing Sideways’ and ‘Stick Season’ of growing tired of home. The latter sees Noah talk bluntly about hating home. The record closer, “The View Between Villages’ is about when he drove back home. He feels excitement returning, but he also knows he will start to loathe the idea. It is apt that it ends with him on a journey because the album is life’s journey. In the beginning, he is angry; during the midway point, he is feeling sad, and by the end, he has accepted life. I found it hard to pick song recommendations because I like the bulk of the album. My choice varies the more I listen to it.
Song recommendations: ‘Growing Sideways’, ‘Northern Attitude’, ‘The View Between Villages’
I have never been a fan of this 2012 X Factor winner, nor do I believe he should be No.1 after a bullshit technicality. The Reytons outsold him, but James got it due to a complaint from some jobsworth in the industry. I believe this decision has marred this week’s chart. I wouldn’t be at all surprised if corruption was involved. Unlike a fair few of the former winners and contestants of the ITV talent show, James has grafted away while they have disappeared into obscurity. He also has a mad hairstyle—a cross between Mike Flowers and Tim Burgess without the bleach blonde.
“Bitter Sweet Love” is the fifth album released by James. Although he has distinctly husky and soulful vocals, how long has he got before this no longer carries him? Yes, it is different from the likes of Ed Sheeran and Harry Styles, and I am going to throw an obscure one from 2011, Josh Kumra, but they are versatile. When reading about this record or purely people’s opinions, I heard it was full-on rock. Really? Where? I heard some rock but also plenty of piano ballads and acoustic moments. The album is quite reflective. ‘Free Falling’, ‘Just Us’, and ‘Is It Alright?’ have some hard-hitting lyrics, but that’s about it. I tend to like piano ballads and acoustic songs, but they made this record disjointed, and you drift away because they are too frequent on what is allegedly a “rock album”.
The opener is the title track, which unfortunately turns out to be a false dawn. As I said, the record needs to maintain your interest. The title track, however, captures your attention with its bombastic sound. There are a few more moments like that on the album. ‘Blindside’ draws inspiration from the 1980s, and the highlight must be ‘Comeback Kid’. Now that is full-on rock. His attempts at being political on ‘New Generation’ fall flat. It had a nice rock feel, though.
Listen at your discretion, but I’m afraid there are too many moments when your concentration drifts away. The Reytons have been robbed, and this record didn’t deserve to “win”.
Song recommendations: ‘Comeback Kid’, ‘Bitter Sweet Love’, ‘Just Us’
My biggest fear for the record was that Billie-Joe Armstrong was going to water down the lyrics like he did recently for ‘American Idiot’ during a performance earlier this month. I wondered why he did that. Was he trying not to offend those referenced as “redneck” in the original lyrics? Or did he just want to let the Make America Great Again movement know he wasn’t a part of their agenda? I was worried Green Day would lose that punk ethos after that performance. However, I am pleased to say that is not the case, and they still have that political drive we know them for.
The opener ‘The American Dream is Killing Me’ sounds very familiar, and that is because it has an ‘American Idiot’ feel, so that’s one of the political songs. ‘Strange Days are Here to Stay’ addresses the use of heroin but also attacks racism, Über, and what the bullshit governments/politicians promise to deliver and never do. ‘Living in the 20s’ was a lot darker than any of the tracks on the album as this talks about mass shootings, which happen frequently in America. ‘Coma City’ also addresses that issue but also attacks police for their unnecessary use of force. All of the above have anthemic choruses and will send the audience wild during live shows. The punk spirit, passion, and fist-pumping will be palpable.
They also take a sarcastic swipe at their generation and nod to the 90s classic film Trainspotting. ‘1981’ reminded me of the likes of Clash and the Ramones. The lyrics reference the Cold War and East Berlin. They even reference the present, especially on ‘Fancy Sauce’, which is tongue-in-cheek.
The record spans across all decades. ‘Dilemma’ sounds like the 50s rock, and if I recall correctly, the last album I reviewed of theirs was pretty much a record packed with that particular genre, which I said, at the time, took me by complete surprise because it was more their cover band (Coverups)than them. Don’t be fooled by this; the song swings from that to the usual Green Day sound continuously over a hard-hitting subject of addiction. There is also the gender-neutral ‘Bobby Sox’. There is even room for their love of Oasis on ‘Father to a Son’, where the acoustic is deployed over strings and brass, and Billie-Joe talks about the pros/cons of being a parent. Again, there are a few tracks like the above that you think have softer moments, where Billie-Joe adopts the acoustic, but you are wrong. At some point, they explode into action with punk, and ‘Father to a Son’ is no different. It works on the aforementioned track because it conveys both emotions of being a parent.
This album never stops. Like I said, even the gentler, more acoustic moments do not remain ballads, but full-on pop punk. This is the closest album I can think of to “American Idiot”, with its bite, sarcasm, and political and controversial views across a range of topics. Some might say it’s “safe”; I’d say it’s the band at their very best. I am still a fan of “Dookie, though. Nothing will top that.
Song recommendations: ‘The American Dream is Killing Me’, ‘1981’, ‘Father to a Son’
Where do I even begin with this? It was utterly unlistenable. I was expecting so much after what RAYE said, but I am not a fan of autotuned hip-hop, and every single track had autotune. That, unfortunately, leads to me pressing skip frequently. I am sure the lads from Lewisham are talented, but refrain from using autotune- it ruins the music. As for you, Jadakiss, you signed them and came from a time before autotune, so why do you not have a word? Hip-hop was brilliant back then without it. Do better.
THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.
Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:
Let’s Go:
BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.
Kissing California:
The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.
Talk of the Town:
Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.
Let’s Go Dancing:
This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.
In Ecstasy:
You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.
Tripping with You:
Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.
Let’s Go (Again):
A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.
Real Love:
The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.
F: K: H :
The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here.
Starlings:
As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.
Ring the Changes:
It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.
Throwaways:
The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.
Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’
A mixture of brief and long track-by-track reviews:
Jenny Was a Friend of Mine:
Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.
Mr Brightside:
THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.
All These Things That I’ve Done:
Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’.
Somebody Told Me:
Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.
When You Were Young:
The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.
Read My Mind:
Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’
Human:
I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.
Spaceman:
It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.
A Dustland Fairytale:
It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.
Be Still:
An unimpressive ballad.
Runaways:
This track is Bruce Springsteen-esque.
the Man:
I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).
Caution:
Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.
My Own Soul’s Warning:
It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity?
Dying Breed:
Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.
Pressure Machine:
This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.
Quiet Town:
A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.
Boy:
Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.
Your Side of Town:
Quintessentially the Killers.
Spirit:
The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound.
Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’
Pop-funk verse, acoustic guitar in chorus, tempo changes throughout with Brian Eno on synthesisers.
the Court:
Similar to ‘Panopticom with piano at outro and Brian Eno on synthesisers.
Playing for Time:
Emotional piano ballad accompanied by strings.
i/o:
Lyrically focused, it grows from a relaxing melody into a singalong anthem.
Four Kinds of Horses:
Briano Eno on synthesisers and electric worms, half-spoken verse, rousing bridge, and a subliminal message chorus.
Road to Joy:
Brian Eno on production, uplifting track with a catchy hook.
So Much:
An emotional track over the piano with Soweto Gospel Choir.
Olive Tree:
Classic Peter Gabriel with an air-punching chorus.
Love Can Heal:
Something of a lullaby.
This is Home:
Outstanding vocals over a fantastic production.
And Still:
An emotional track addressing the death of his mother.
Live and Let Live:
Brian Eno on synthesisers and rhythm programming, Soweto Gospel Choir also features. Peter said the late Nelson Mandela and the late Desmond Tutu inspired the track. It’s a track about love and forgiveness.
Conclusion:
This is a quintessential Peter Gabriel album, which isn’t a bad thing, but the tracks are incredibly long, and I would describe the production like a river—everything flows, but the songs all sound similar, with some exceptions. I don’t know how this got to No.1 when the kids these days stream music, and I wouldn’t have Peter Gabriel at the top of their list. I can only think that “i/o” has been bought for parents/grandparents, uncles and aunties as a Christmas present. Still, fair play to him for managing to score a No.1 album in this day and age.
Song recommendations: ‘Panopticom’, ‘Four Kinds of Horses’, ‘Live and Let Live’
Take That came to dominance in the 1990s and drove teenage girls and young women wild. The band split in late 1996 before reforming again in late 2005 without Jason Orange and Robbie Williams. Robbie would rejoin the band in 2011 (I think) before once again leaving and recommencing his successful solo career. During the band’s 9-year hiatus, Mark Owen had a brief solo career. Howard Donald became a DJ after his debut album was shelved, and Gary Barlow released about four solo albums but had more success as a songwriter. The band reunited for a Channel 5 early-2000s documentary at a country manor to talk about the band without Robbie, who did leave a video message addressing each member. As we know, from there, the band reformed to release material and perform live again. The band is more democratic nowadays, with each member taking the lead vocals.
They made their debut appearance recently on Later…with Jools Holland, where they played two songs off “This Life” and said that the album, which was recorded in Nashville, was inspired by the country scene. I will later explain what I thought it sounded like.
“This Life” comes six years after “Wonderland”. Of course, there has been a greatest hits collection, a live album of their greatest hits, and surprisingly, a musical, which became a film released in the summer starring the Irish comedian Aisling Bea. The band have already sold out a staggering six-night residence at London’s O2 in April next year for the upcoming “This Life” tour. We are currently in the era of nostalgia, so this is no surprise. Take That, as we know, has a fantastic song catalogue, making recording new material a challenge because it will always be challenging to match those world-renowned hits.
One thing you will notice with this album is that it needs the singalong anthems we know the band for. I don’t know what chief songwriter Gary Barlow’s thinking is behind this, but he did tell Jools that this is a record that the band wanted to do rather than what the singles chart would dictate. ‘We Got All Day’ is one of the rare anthems on the album that will see the crowd waving their arms or holding their phones/lighters aloft. The final track, ‘Where We Are’, is more of the band revisiting their past glories by making this the record’s ‘Never Forget’ moment, where they sing about how far they have come over a bombastic production.
The album is quite eclectic for the band; the title track is something different. It sounds like a 1970s soap-themed tune with a jaunty piano. As you can imagine, it didn’t chart upon its release. The next track I will highlight is ‘Windows’, one of the songs featured on Later…with Jools Holland, an acoustic track more akin to their fellow Mancunians, the Smiths. They said the song is country, but I got a Smiths-esque sound instead. ‘Time and Time Again’ is the closest I came to hearing anything resembling country music with its relaxed acoustic strumming. ‘Brand New Sun’ was another song played on Later…with Jools Holland, and this one, with its electric guitar solo, reminded me of, once again, fellow Mancunians New Order. If I recall correctly, there is a Peter Hook-esque bassline. Although “This Life” differs entirely from anything they have done previously, you must feel it lacks the anthems we are accustomed to from the band. Despite that, this low-key album will not stop hardcore fans from flocking to their upcoming shows, and therefore, the band can enjoy themselves in the studio and have autonomy over what they want to record.
Song recommendations: ‘Windows’, ‘Brand New Sun, ‘We Got All Day’
Who doesn’t like Madness? I mean, you have ‘Baggy Trousers’, ‘Our House’, ‘House of Fun’, Midnight Boat to Cairo’, ‘Lovestruck’ and ‘One Step Beyond’ to name a few classics by the collective. Of course, there is a more serious side to the band with songs such as ‘Must be Love’ and ‘Johnny the Horse’. They are not all full-on ska and uplifting sing-a-longs.
I recall a film that came out via BT and AMC during one of the lockdowns called “Before We Was We”, featuring the current members and the former member Chas Smash (if it wasn’t for him being the hype man, to begin with, I am not sure Madness would have been signed.) and this album kind of follows that theatre vibe. You have an introduction, prologue, acts, and, of course, the finish.
Leading off from the opening paragraph, this record is not your typical lively Madness album, but one that is quite reflective and discusses the current climate of world affairs. What is refreshing about the record is the band has made it the way they want it. Some fans might have got over-excited when the band announced a new album, clearly expecting the usual knees-up anthems. People like me, on the other hand, welcome this. It is quite an eclectic listen; for example, ‘Run for Your Life’ is rock, ‘If I Go Mad’ is funk, and ‘Set Me Free’ brings melancholy. Thommo takes over from Suggs to lead vocals on ‘What on Earth is it (You Take Me For?’ and ‘the Law According to Dr. Kippah’ with Suggs backing him on the latter. Thommo also does what is really the opening track (If you exclude the pointless prologue.), ‘Theatre of the Absurd’, where he does it in spoken word.
The prologue appears to be in a crowded place, more than likely a public house, because you can hear hubbub. I didn’t pay that much attention to that, the acts, and the finish because they are pointless fillers. They are short and add nothing except to give it a “theatre” feel. These are all narrated by the actor Martin Freeman. ‘In My Street’ has the familiarity of their classic ‘Our House’, and trust me, when you hear it, you will immediately come to the same conclusion.
I suggest the clowns who voted leave give this a miss because the band are unapologetic as they rip to shreds the sorry state Britain is in due to the consequences. They aim at racists and politicians and how the country is on its knees. Despite the raw subject matters, they are cleverly concealed among love, humour, catchy hooks, and optimism. It’s not your quintessential Madness record, and I am surprised this is their first ever No.1 album when they had some vibrant ones out during their pomp. It is worthy of its place and shows their more sincere and political side. It’ll be interesting to see if it becomes timeless due to the nature of the record.
Song recommendations: ‘In My Street’, ‘Set Me Free’, ‘Theatre of the Absurd’
Honest Opinions 