As everyone who reads my reviews knows, I reviewed Sam’s last two albums, which were less than complimentary. Straight up, brutally honest about how they sounded the same as his debut. He left his comfort zone twice on the last record, and every song sounded like the previous. However, this time, I am pleased to inform you he has left his comfort zone when tackling new genres. He has, on the main, stuck with his usual falsetto vocals.
Sam has also changed his perspective on life since becoming happy with who he is, which is evident in the album. Yes, once again, it is conscious, but there are uplifting lyrics this time. He also has a few collaborations on the album with Ed Sheeran and Koffee, among others.
The record starts with ‘Love Me More’ delving into Sam’s love for Gospel. The lyrics themselves are pretty dark. I will now go into why the album has shown Sam a bit more diverse sound this time. First, I already mentioned the opener ‘Love Me More’. He dives into RnB with ‘Perfect’ and then into the disco-infused ‘Perfect, where he discovers how he has learnt to accept himself as whole.
The one that did take me by surprise was ‘Unholy’. It has a Grime quality to it, and to be honest, the song’s theme fits the music. Sam foretells about a family man who indulges in unprotected sex.
There are plenty of more RnB tracks or his usual piano ballads. This isn’t the best for me, but the disco floor filler ‘I’m Not Here to Make Friends’ is a standout on the record, and you can go right when you get Calvin Harris to produce the track. The great Nile Rodgers would be proud of this one.
My favourite, however, is something I wasn’t expecting as I’m not too fond of extremely short tracks. The title track is fucking excellent; Sam is accompanied by a choir, as each lyric elevates and reverberates around the church the song is performed in. The album closes with ‘Who We Love’, a soft and gentle duet with Ed Sheehan where they talk about giving you into your heart because it knows who we love.
Sam surprised me this time. I was impressed he experimented with other genres, and it made the listen fly by rather than dragging on.
Song recommendations: ‘Gloria’, ‘I’m Not Here to Make Friends’, ‘Unholy’
have no idea where I first heard Robbie Williams. Take That appeared out of nowhere in the 90s and became extremely popular without a steady rise. I don’t mind some of Robbie’s work since he decided to go solo in 1997, which started with the indie-inspired ‘Old Before I Die’. I love that song, but Robbie isn’t too keen on it when you read his 2016 autobiography “Reveal”. He appears to hate it with a passion. I used to love hearing it on the radio, on television or on the jukebox at the local Riley’s snooker club. It epitomised the whole indie revival movement during that period. I am surprised by his submission because after being discarded by the Gallagher brothers, he said in his book, it didn’t deter him from liking Oasis, and he enjoys a lot of indie music. I don’t fucking care if some of you are smirking at me reading his book, it was an intriguing read, and you get to know the honest Robbie and not the one slaughtered by the media. So, my initial plan was to listen to the new tracks on “XXV”, but he had other ideas. Yes, it is his greatest hits, but not in their original guise. The songs have been reimagined with Jules Buckley conducting an orchestra, and there is even a Beethoven version of ‘Angels’. That’s the introduction over; now to the review. I have elected to analyse each classic and new song track-by-track.
Let’s begin:
Let Me Entertain You:
No one can forget this beast of an anthem with its rock attitude. When this was recorded, the La’s and Lightning Seeds drummer Chris Sharrock was drumming for Robbie. Of course, Chris would go on to join Robbie’s friends Oasis, Beady Eye, and his least favourite Gallagher brother Noel Gallagher’s High Flying Birds. The song carries on in the same vein, but the horns and choir bring that celestial finish to it. Already I am impressed.
Come Undone:
A friend had this on a Now That’s What I Call Music compilation in 2003, and I was reading the footnotes. Tupac Shakur inspires this song. I was shocked to hear this because I don’t hear any references to Pac in the song. On a side note, Robbie and Pac met in 1995 at the Versace birthday party. They both shared a joint, and they got on almost immediately. Pac didn’t know about Robbie’s portrayal by the media and didn’t seem to care either. They shot the shit about life and, for a brief moment, became friends. Has the song improved much since the original? Only slightly. Not much to write about.
Love my Life:
In the book, Robbie said he wrote this for Theodora(his daughter.) to tell her never to forget to love your life despite what others might say about you. Again, the orchestra lift this song to another level; to be honest; it is fit for the West End when they do a musical on Robbie.
Millenium:
There was no point in tweaking this track. It doesn’t enhance it, as the original already has a stringed section. I believe it was pilfered from a James Bond theme song. He was better off not bothering to rework this one.
the Road to Mandalay:
Again, a pointless rework. The original is better.
Tripping:
For the third time in succession, the track didn’t need necessary work. I am sure this one catches your attention by starting off with a reggae vibe before returning to the familiarity. You feel cheated when the reggae falls away after the introduction. I’d have preferred a reggae vibe on the rework, in all honesty. I cannot recall a single track where Robbie has done reggae.
Bodies:
I’ve never been a fan of it, and the rework didn’t do much for me.
Candy:
Jesus. This song made me cringe when it came out, and still makes me cringe now. Robbie is better than bubblegum pop.
Supreme:
Again, I believe another song pilfered from a James Bond film. I didn’t feel a rework was necessary. I mean, what could Jules have possibly done to improve it? The original has an orchestra. There are, however, female backing vocals. Still didn’t do much to improve, though.
Strong:
Again, Robbie puts on his indie head in the original, and to be honest, there is not much difference between the XXV version and the original. It’s a photo finish which is better.
Eternity:
Just like ‘Strong’, there isn’t much difference in both versions.
No Regrets:
My favourite track off “I’ve Been Expecting You”, and it has to be the original that will remain my favourite. He tries to make this more upbeat when the original is melancholic, which fits with the concept.
She’s the One:
I love this cover of World Party’s track, even though the original is much better. It was a nice nod to World Party, but Karl Wallinger has said on many occasions he now hates performing the song and that Robbie ruined it for him. In the book, Robbie mentions how through a third party, Karl said, “When you see him, tell him he’s a cunt”. If Karl hated the original cover, he isn’t going to be too fond of the XXV version, either. However, I believe the majority will agree with him this time.
Feel:
I was not too fond of it then, didn’t like it when Peter Schmeichel played on it live, and I still don’t like it now.
Rock DJ:
When this came out in the summer of 2000, I liked it. Then, it was played to death, so I stopped listening to it, and as I got older, I could not stand it. Even listening to the rework was too much.
Kids:
I loved this when it came out in the autumn of 2000, with its rock attitude and the collaboration with Kylie Minogue. Kylie features in the rework. Again, a photo finish of which one is best.
Angels:
The original pisses all over this. Do look out for a surprise later on, though.
Lost:
Now, we have come to a brand new track. It was made for this album. Yes, I know it was actually made for this record, but what I mean is it’s a perfect fit. The orchestra musicians compliment each other.
Nobody Someday:
An acoustic guitar accompanies Robbie’s vocals, accompanied by a soft choir. A vast improvement on the original.
Lazy Days:
The original itself was lazy instrumentally and vocally. The rework brings it to life—the orchestra playing a pivotal role.
Hot Fudge:
I never liked it and still don’t.
Sexed up:
Again, I wouldn’t say I liked the original, and my concentration wavered on this one.
More than This:
Another brand new song. Once again, it is a perfect fit, just like ‘Lost’.
Disco Symphony:
Another new track that does exactly what it says. I can see this one being played at parties and wedding receptions imminently. Very uptempo and very disco.
Better Man:
You’re better off listening to the original.
Home Thoughts from Abroad:
The Magic FM moment on the album. Although to be fair, the majority of the record will fit nicely on their playlists.
the World and Her Mother:
The final new track has the Robbie signature written all over it.
Into the Silence:
Again, another photo finish.
Angels (Beethoven AI):
This song is merged with Beethoven’s ‘Unfinished 10th Symphony’, and fuck me; it fits in perfectly. I never thought I would see the day when ‘Angels’ collaborates with ‘Unfinished 10th Symphony’. I was blown away when I heard it, and it fucking destroys the original. That was a very clever move by Robbie. This version is beyond space; it’s that good.
Song recommendations: ‘Angels(Beethoven AI)’, ‘Nobody Someday’, ‘Disco Symphony’
7/10
Why such an average rating, you ask? Well, because I prefer the originals.
It’s great when I don’t have to do a little introduction of an artist/band. However, I was astonished that this is his 11th album, four years since he released “Love”. Unfortunately for Michael, he has been pigeonholed into Christmas. In September, which is the official build-up, Michael appears. My first review of one of his albums was last year’s first number-one. However, Michael has done virtually a covers record this time with two new ones thrown in.
I was wrong. It is four new ones that complete the 13-track album. Indeed, the lead single is an original titled ‘I’ll Never Not Love You’, an optimistic song about love surrounded by big band and swing that wouldn’t look out of place being performed by the Rat Pack. As usual, Michael has hit his audience. That’s what you associate with him with his silky and bombastic vocals. ‘Baby I’ll Wait’, written with John Mayer, sees soul and rock collide. Michael can blend his songs with the classics he puts on albums and effortlessly sings during live performances.
So far, I am talking about the original songs Michael wrote. I am not sure they were meant to be on “Higher” because the other nine tracks are covers. Let’s look at the title track. It has a Latino feel to it, wrapped around upbeat instrumentation. Then, the final original title is ‘Mother’. Funnily enough, it is Mother’s Day weekend, and how apt that there is a track by that title on this newly-crowned number 1 record. Of course, as you can tell by the title, Michael is paying homage to his mum, and the method used is a ballad. It is also refreshing to see that Michael is more than just a tremendous cover version singer. His work shows how talented he is.
I just remembered about another original: the second track, ‘My Valentine, ‘ done with the Beatles legend Paul McCartney.
Yes, it is a song about love, and if I remember rightly, he brings up Valentine’s Day, too. This track starts quietly before bursting into a big band and will be one to watch on the forthcoming tour. What surprises you most about Michael is his ability to record covers still and add originality to them. He has done countless covers, and you would have thought by now that he would be in a cul-de-sac, but no. He still has the knack.
Leading off from the covers section in the previous paragraph, He does a tremendous and jazz-inspired cover of Bob Dylan’s’Make You Feel My Love’. Meanwhile, Adele and Bryan Ferry kept it more in line with the original, which was melancholic. It is the best cover of the song I have heard and is my favourite. Michael has fun with it.
You can hear the smile through his uptempo vocals; as I mentioned, the jazz element leaves you feeling fuzzy. He also covers the late Patsy Cline’s ‘Crazy’ with Country legend Willie Nelson on guitar. I am sure they exchange verses, too, and Willie provides backing vocals.
The final cover I liked on the record featured in the latter half is of the late Barry White’s ‘You’re My First, My Last, My Everything’. You’d think this would be more soul, but Michael again has fun. This time, he puts a disco spin on it—an astounding change-up of sound on the album. Michael sticks to what he knows best for most of the record: big band and swing. However, he ventures into soul, a bit of country, jazz, and, more surprisingly, disco. There is no doubting his vocals, though. It wouldn’t matter if this album were panned because he has the vocals to nail any live performance. He missed a trick not releasing this in the autumn/winter because the tracks’ production and uplifting nature leave you feeling warm and fuzzy. I felt like I should have been sitting next to a log fire with my feet on a stool with a hot drink. I know it’s only March, but we are heading into Spring, and despite the rain outside, it feels warm. Michael missed a trick here on what is a splendid record.
Song recommendations: ‘Make You Feel My Love’, ‘You’re My First, My Last, My Everything’, ‘Crazy’
Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades.
But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.
So, how was the concept of this record born? Elton wanted to do more than play family games and watch television,which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.
I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is.
Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.
I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.
If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would haveprobably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist RobertTrujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’.
Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm.
The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.
The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am goingto sum up the following shortly and sweetly:
‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.
‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song,making it spiritual.
‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t GoBreaking My Heart’ talking about their relationship through those 45 years.
‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimaginingof his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.
My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.
Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’
Many of the purists of the duo may have been concerned when they opted to change direction and sound like a combination ofFranz Ferdinand with their disco-punk and Tame Impala with their psychedelia. Still, they didn’t have much to fear because it hadn’t affected Royal Blood all that much sonically. You can still hear their fundamentals shining through and their spirit. There is something for everyone on this latest album, four years on from “How Did We Get So Dark?” For example, ‘Boilmaker’ sounds like your typical Royal Blood song.
‘All We Have is Now’ is a piano ballad that closes out the record, ‘Either You Want It’ is a track right out of the Tame Impala psychedelia manual, and ‘Million and One’ is a moody love song that is uplifted by the disco akin to Franz Ferdinand with synths included to the mix to give the track flesh.
Mike Kerr was inspired to experiment with this album after quitting alcohol and talking to Josh Homme from Queens of the Stone Age about what sort of new elements he and Ben could do on the next Royal Blood record. Through this newfound confidence since becoming teetotal and the advice given by Josh, Mike removed the direction from the second album. Once again, the lyrical content is strong across all subjects, ranging from self-reflection love, despair, and hope.
I preferred the final track, ‘All We Have is Now,’ as my favourite, with its sense of calm and melancholy. It is a piano ballad and the only one on the record. As the album starts with ‘Trouble’s Coming’ and maintainsthat energy level consistently, although some psychedelia might be chucked in, it is apt to end on a soft and calm note. I would like to see this added to the encore’s final song on the forthcoming tour (Whenever that is) to temper the fans before theyhead home. As for the direction? It hasn’t soured their identity, and nor will I think the purists will be pissed off with it. You can still tell it’s Royal Blood.
Song recommendations: ‘All We Have is Now’, ‘Either You Want it’, ‘Million and One’
How ironic that in such a fucked up year, Kylie releases an album choc-full of disco and funk songs? We can’t go out to clubs, attend parties or wedding receptions to dance with one another to these uplifting tracks. That’s quite sad, and I’m sure Kylie would prefer we were all doing that rather than sitting on our arses at home before heading out to get food or go to work. I should have started with an introduction to Kylie Minogue, as this is my first review of her material. This is her fifteenth album over a career spanned almost four decades.
Talking of her career spanning almost four decades, this record sounds like music inspired by the 70s and the era she began her career, the 80s. “Say Something” is the leading single, a chance for us all to enjoy each other’s company and start living life again. Most of the album was written during the lockdown, and Kylie used a makeshift studio from home to record and edit her vocals. Indeed, she wrote “Monday Blues” about the struggle of doing that (It can be pretty tricky if you are not used to editing your vocals or even instrumentation, for that matter.)
These songs will be heard at wedding receptions when they are allowed to be permitted again. Especially “Supernova” and “Where Did the DJ Go?” are inspired by Nile Rodgers and Chic. Unfortunately, the albumhas no memorable content such as “Spinning Around” and “Love at First Sight”, but it sits pretty nicely into the generic Kylie song department. No risks are taken, and Kylie sticks to what she knows is guaranteed to sell rather than getting experimental and surprising us all.
Another thing refreshing was this record doesn’t particularly have any filler. It is all good, full-on disco/funk.Even the more downtempo tracks like “Last Chance” keep your attention and mood at the same level because it is straight outof pop. Kylie co-wrote this album, and though the songs are mainly uplifting sonically, the lyrics are more melancholicas they talk about the rollercoaster of being in and out of love.
As the record closes, Kylie concentrates on adding a character called Mary in “Celebrate You, ” which is based on all of us when we feel sad and depressed. However, the instrumental is uplifting again, so your mood doesn’t shift despite the melancholy. Another thing that Kylie has mastered is her music. Most of her songs are based around the heartache of a relationship ending, but Kylie takes that element of sadness away with her uplifting instrumentals.
Song recommendations: “Where Did the DJ Go?”, “Supernova”, “Celebrate You”
I remember hearing about this band in 2013 and giving them a chance, but I didn’t think they lived up to the hyperbole they were getting. I couldn’t stand their song on FIFA 14 either and removed it from my playlist. And would they have got on if it wasn’t for their leader Matt Healy being born with the mother-of-pearl spoon in his mouth? It certainly helps when your parents are well-known British actors. It also helps they came along when the rock side of music was not really doing a lot.
The opening track, named after the band, features a piano with a speech given by Greta Thunberg at one of her many climate change rallies. I might not believe in everything she says, but I admire her passion. Climate change is just a case of nature taking its course, but it certainly doesn’t help when you’ve got fucking idiots drilling huge holes in the ice for research. If I were the scientists, I’d suggest they leave the drilling well alone. Of course, that will agitate the ice and cause it to break up.
The next track I will mention is “People” It has shite elementary lyrics, but the drum beat reminded me very much of Blur’s “Song 2” and a very unusual assault for the band into the punk genre. I never had them down as a punk band or even attempting to do punk. “the End” is just one of those fucking pointless throwaways that are known as interludes. This one is just a short-stringed instrumental. That then leads us into “Frail State of Mind”, which, in my opinion, is a failed attempt to appeal to the fans of the garage genre. It didn’t work, lads. It’s not your forte.
“Streaming” is just another stringed instrumental interlude. “Yeah I Know” is yet another failed attempt at appealing to the club scene with its garage element. Seriously, lads, leave well alone.
“Then Because She Goes” is trying to emulate the indie scene of the 1990s, with this track sounding like the Wannadies smash hit “You and Me Song”. “Shiny Collarbone” is trying once again to break into the club scene with this house instrumental with a ragga sample chucked in. “If You’re too Shy (Let Me Know)” is very 1980s.
The final two tracks I am going to mention are “Playing on My Mind”, which sees the band take time out to reflect and bring the tone down of the music by going acoustic and “Having No Head”, which is dance music that is ideal for a child’s disco.
I was thoroughly bored listening to this double-disc record; most of the time, the album didn’t hold my attention, and I wondered what my review would look like and if it would be even long enough. I cannot stand the band; I don’t understand the hyperbole surrounding them, and this album hasn’t changed my view.
Many of the fucking idiots who follow them will be like, “You’re just trying to be ‘edgy’ and ‘cool’ by saying you don’t like them”, but it IS actually true. I cannot stand them. My dislike of their music is genuine. Others might be like little sheep and follow, but I have my own mind, which tells me I do not like their music.
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
Sadly in December 2016, on Christmas day, George was found dead at his Oxfordshire home. The world was devastated by the news, as you can imagine. Although a very troubled, talented artist, George gave the world great hits such as 1987’s “Faith”. to pay homage to him, his second album, “Listen Without Prejudice Volume 1 MTV Unplugged” from September 1990, has been re-released. I was astonished that this album was elected for re-release when you consider all the bullshit he went through upon its release in America, where they just dismissed it as George trying to gain some credibility after he had left Wham! Indeed, they saw him as an arrogant prick who needed to be taken down from his pedestal and used this album to beat him with that stick.
To make matters worse, this record would also light the blue touch paper with his record label, Sony Music, where he was embroiled in a long and nasty contractual battle. Indeed, he even attacked Sony in 1996’s “FastLove”, where you can see him wearing headphones called “Fony”, evidently in the style of the Sony logo. By this time, he had already got out of his contract and feud with Sony and signed to Virgin Records and Dreamworks, respectively.
The comeback in the mid-1990s would also see him finally coming out to the public as a homosexual. Although he may have signed to those two labels, he didn’t win the war with Sony. He accused the label of several things but highlighted the lack of promotions of his singles, albums and tours. By highlighting his lousy treatment by Sony Music, he set a precedent for other artists signed to major record labels to rebel against the constraints put on them within the industry. It has only taken until now for the American market to show their appreciation for this record and George after years of snobbery behaviour. To show how timeless this record is, most of the songs on the album, where George touches on the subjects of life, love and his sexual orientation through his lyrical content, are very much as relevant today as they were back in 1990.
Staying with relevance, “Freedom” and “Praying for Time” are probably more apt than ever during the current climate. Then, we have the jazz song with a pop flavour, “Kissing a Fool, ” which puts a smile back on our faces and makes us feel good about ourselves, taken from his 1987 record, “Faith”. There’s even a cover chucked in for good measure from the MTV Unplugged performance in the shape of “They Won’t Go When I Go” from Stevie Wonder’s 1974 album “Fulfillingness’ First Finale”. I must say that George gives the song justice.
Like the remastered “Faith” released in 2011, this record has been released in the following formats, CD/DVD, double disc, vinyl and available for digital download. The triple CD has the following, “Listen without Prejudice” remastered, the 1996 MTV Unplugged Live LP, various remixes, unreleased tracks and B-sides from the recording sessions for the record. Plus, a DVD with a plethora of bonus content. There is the remastered album and the MTV Unplugged Live performance on the other formats.
There is also a bonus disc that will certainly intrigue George Michael’s die-hard fans as it includes tracks from what was supposed to be the follow-up to this record called “Listen without Prejudice Volume 2” (Naturally.). Why was it aborted? Who knows, but it would have seen George return to the Disco genre. The following songs from the aborted record include “Too Funky”, “Crazy Man Dance”, “Do You Want to Know”, and “Happy”. Nile Rodgers also appears on the record with his production of “Fantasy”. This version by Nile is the first single off the reissue. Of all the albums George did in his short career, this one is the most timeless, and all the subjects featured are still relevant. It is also a fitting tribute to George’s talents.
Overall: I enjoyed this record. I must confess that it is the first time I have heard it (Well, the first time, I can recollect hearing it, anyway. I might have heard it back then and not known.). My favourite song of his is a bit clichéd. It is none other than 1984’s “Careless Whisper”. I remember hearing it on plane journeys before taking off in my youth and found it quite soothing. I don’t mind some of his songs with Wham! Like, “I Don’t Want Your Freedom”, but songs such as “Jesus to a Child”, “Careless Whisper”, “Kissing a Fool”, and “Don’t Let the Sun Go Down on Me” are my personal favourites. The second disc has my favourite track from this record, and it is the revamped version of “Fantasy” by Nile Rodgers. Although I must confess I am not a great fan of acoustic guitar, I love hearing songs played acoustically. It is well-known that most songs begin their life on the acoustic guitar. Artists such as Noel Gallagher, Robbie Williams, Vince Clarke and Andy Bell (There are more that I cannot remember at the moment.) start writing their songs on the acoustic guitar. Most great electric songs can be played in both forms, and that is the sign of a perfect song. I also liked this record because, unlike George’s electric songs, the acoustic versions give the songs a lot more soul, and you can feel and hear their true meanings. Sometimes, this is lost in electric because an awful lot happens, but once a song is stripped back, it reveals itself. This record is well worth the listen to hear the inner soul of the songs and is an apt tribute to George’s legacy and memory.
Well, We all know from his time with Polly Jean Harvey co-fronting Desert Sessions that guitarist and frontman Josh Homme likes to dress snappily and sport a quiffed hairstyle ( He dressed similarly while being part of Iggy Pop’s band in recent years.) as well as adding a dance element to his sound, and that is what the seventh instalment by Queens of the Stone Age offers in abundance. A far cry, you might say, from songs like “No One Knows” and “the Lost Art of Keeping a Secret”.
You might recall that the band’s last record titled “Like Clockwork” included collaborations with several well-respected musicians, for example, Alex Turner from Arctic Monkeys (Josh coincidentally produced “AM” for Arctic Monkeys.), but this time there are no collaborations, but there is on the production of the record in the shape of Mark Ronson.
Mark, as you may well know, has produced for the likes of Amy Winehouse and Bruno Mars (Actually, the list of artists he has produced for is fucking monumental. I would be here for ages writing it out.) and was singled out by Josh for “Villains” after he heard “Uptown Funk”, and Josh decided that was the kind of sound he wanted on the record.
I know what you’re thinking. Surely the hardcore fans of Queens of the Stone Age will recoil in horror at the fact that Mark, known for his catchy radio-friendly pop songs, is the producer of their latest record and will saturate their sound.
Well, not really. Although Mark is on production, this is still the same rock band with attitude that caused a sandstorm as they made their way out of Palm Desert, California, in 1998 after renaming themselves as Queens of the Stone Age (Previously Gamma Ray.) with their self-titled debut album a mere two years after their formation. “Feet Don’t Fail Me” is proof of this. The track starts off with a moody sound for almost two minutes before bursting into vivid life. The moody intros also continue on tracks like “The Way You Used to Do” and “Head Like a Haunted House”, with the latter resembling glam-rock out of the 1970s that It sounds very much like something T-Rex would have done if they were still around today. There are also serene moments on the record, notably with “Hideaway” and “Fortress”, which you might say could be known as stoner rock, but don’t let that fool you. This is still a Queens of the Stone Age record that will make you move your feet and hips on the dance floor.
In a way, this record offers hope and defiance and celebrates all the great moments in life. Especially as you consider that Josh wrote this record after another band he is in called Eagles of Death Metal, was involved in a horrendous terror attack at Le Bataclan, Paris, France, back in 2015, just over a week after appearing on the newly resurrected 90s TV classic chat and music show, Thank Four It’s Friday (TFI Friday) in London, England (Josh was not present on tour at the time, I think due to feeling unwell.). He doesn’t directly address the terrible event on the record, but it does have a “Fuck the terrorists. We are going to live in the moment and have a fucking good time instead of hiding away and living in fear” feel to it.
Josh has always maintained that he doesn’t like to get political, and the music is to escape from the real world, which is often dark. This record is the definition of that, and we are all here for a fucking good time, and we will embrace it no matter what. For that, I doff my cap to them for talking about the celebration of life. I know it could be seen as artificial, but now and again, we need records that will lift our spirits in such bleak times.
Honest Opinions 