Ed Sheeran

Week Two: Stormzy- Heavy is the Head

~ honestopinions19 ~ Leave a comment

Stormzy-Art-big

I have already done a review on the Croydon rapper’s debut album, “Gang Signs & Prayer”, back in 2017, so I will keep my introduction of Michael Omari short and sweet as I have no reason to do a biography of him for that reason alone. I had a plethora of vinyls and downloaded CDs of Grime, so I do have some knowledge of the scene despite drifting of late. I also don’t know how I first got listening to Stormzy; as for me, he seems to appear without fanfare, but now he has really started to accelerate in his career and is fast becoming a household name across Europe. So, I have been eagerly awaiting for the second album. One thing that struck me upon the release of “Heavy is the Head” is that Stormzy showed his unconditional support of out-going Labour leader Jeremy Corbyn and his disdain for current Prime Minister Alexander Johnson, who won by a landslide in the general election last month (In all honesty, I knew the Conservative party would win as politics is a rigged deck, anyway. I don’t believe there is such a thing as democracy in the Western world. It’s all bollocks. I also trust none of the parties nor their politicians.). Where am I going with this? Stormzy has a bar in the lead single “Vossi Bop”, where he attacks the government and the Prime Minister. Kind of like the London 2Pac. I fucking love that attitude. Fuck the establishment and let them know about it.

Like on his debut record, we have the hardened streetwise soldier and the caring lover as he goes from dark beats to slow jam-esque vibes. Although I like “Crown”, I don’t feel that Stormzy has the soulful vocals to do the chorus justice, but fair play to him for even attempting to sing in that manner, anyway. Though, he should leave that to the likes of Romeo, Kano, Devlin, Ed Sheeran and Mighty Moe. The verses though on “Crown” is where he excels and listen carefully to what he has to say in this autobiographical masterpiece.

I will now focus on “Superheroes” as this track is a huge big up to all the leading female figures often overlooked by their male counterparts. He references the Williams sisters, relatively new rapper Little Simz (I say reasonably new because she has been around for a while), and finally, the children’s author Malorie Blackman. It’s refreshing to see a male paying homage to leading female figures in their field, as we are usually guilty of referencing leading figures of our own gender. Also, if you were a fan of the children’s BBC show, the Story of Tracey Beaker, you would love this as the theme song lyrics are sung in the chorus.

Of course, as is the case with most albums, some tracks somehow make it onto the final listing, which really shouldn’t be there. This time however, I am not talking about those fucking skits or short instrumental jams, but just pure cheesy tracks like “Don’t Forget to Breathe”, which features Adele’s co-writer Paul Epworth on the writing credits and the track “Own It” featuring Ed Sheeran, which has a very corny verse by Ed that sounds like a man failing miserably at impressing a female. I loved the raw emotion in “Lessons”, and although “Do Better” is a very good song, Big Mike tries his hand at singing again and, yes, fair play to him for that, but he excels at barring and should stick to that.

When this record was released, I admittedly was catching up on a shit load of reviews I should have done a long time ago, so I initially missed out on the opportunity to review it. Anyway, I noticed a track called “Wiley Flow”. Now, at the time, all was well and good on this front, so I would have just seen it as a hang-tight to one of Grime’s pioneers (He was in Pay As U Go Cartel who started playing it on Rinse FM and significant events like Sidewinder when Grime wasn’t even labelled yet. It was just purely Underground.). Still, recently the two have been exchanging words over what are known as war dubs. Stormzy’s two dubs so far have been “Still Disappointed” and “Still Disappointed II”, where rather than praise Wiley, he has proceeded to take him apart piece by piece (I recommend giving them a listen.), but that’s for another review for someone else to take care of, I am focusing on Stormzy’s latest record, not the war dubs. So, yeah, he speaks highly of Wiley on the track. Have you noticed that I haven’t done these tracks in order of listening? And to fuck your head up even more, I will close the review with my standout track that features earlier on the album “Rachael’s Little Brother”. I love the bars on this one, as he shows his humbleness and sense of humour. Now, he mentions all the things he could have been besides a musician, and they are more than likely true. Big Mike is no fucking thicko. He got outstanding grades for his GCSEs, including SIX A*’s and THREE A’s. It shows that not all rappers fail academically. It’s weird because most are incredibly bright, like Big Mike, but tend to avoid school. By His admission, he used to misbehave for his entertainment but seemed to excel when it came to exams. He only achieved moderate grades on his A Levels before doing an apprenticeship in Leamington Spa, Warwickshire, and then working for two years at an oil refinery as quality assurance in Southampton, Hampshire (Both quite far away from his South East London home.) Check out these bars mentioned in the track; they are humble, witty, full of humour and brilliant. That’s another thing with Grime. A lot of wordplay is used to terrific effect.

I coulda been a doctor, coulda been a lawyer

coulda been a boxer like I’m Oscar de la Hoya

If I stayed at work I’d probably piss off my employer

8/10

Week Fifty-One: Eminem- Revival

~ honestopinions19 ~ Leave a comment

eminem-revival-cover

Here is the track-by-track review of his 9th studio album:

Walk on Water: 

Gone are the days (it appears, anyway) when Eminem would open his records with a sarcastic public address announcement for a short comedy skit. This record begins with a piano playing minor chords (To add to the sombre atmosphere.) and a soaring chorus sung by Beyoncé that one would find at a gospel Church congregation. The biggest surprise, though, is that he is talking in a severe manner on this track and even asks himself if, because of the albums that have gone before, has he pushed his levels too far and if he can still reach them. My theory behind this introduction is that maybe, he has heard and taken on board all the criticism of his material since his first three albums. Okay. Maybe, you haven’t heard of the debut album from 1996, “Infinite”? But you have heard of the albums that set him onto the world stage. “the Slim Shady LP” from 1999 and “the Marshall Mathers LP” that followed it in 2000. Whether he or you like to admit it or not, those albums propelled him and made you pay attention to what he had to say, no matter how controversial. Indeed, even in the second verse, he mentions that after”the Marshall Mathers LP” and feels that, although initially, he is pleased with his material, it just doesn’t surpass nor match the work of his third album. He sounds discouraged and concedes that the records after his third album are just “garbage”. Rick Rubin is the Producer chosen for this project, and already, you can hear this album is more Johnny Cash sounding than his Beastie Boys work. Despite this, Em doesn’t seem too bothered about it and continues to the Johnny Cash-inspired production. Then, at the end of the track, Em seems to have adopted his “Fuck you” attitude and bellows “, Me and you are not alike, Bitch, I wrote ‘Stan’!”.

Believe: 

So…We have discovered at the end of “Walk on Water”, we have found that Eminem is now ready to go to war on this record, despite feeling downcast and being his own worst enemy for most of the opening track. This track, however, is sad and tragic. It sounds like a rapper approaching his 50s trying to appeal to the children who listen to the singles chart in the now, but he still raps with the thug in him and talks controversially about politics. Despite the contemporary feel of the music, this song’s controversial topics remind me of “the Way I am”. However, he mentions how he enjoyed the chase in his younger days, but now he is older, he finds it hard to remain hungry because that chase is no longer his priority, and he has achieved a lot thus far. Plus, he is now financially set up for life. The same goes for most songwriters and artists once they have passed that point. Let’s hope the Eminem of the late90s and early 2000s remains on this record, though.

Chloraseptic: 

This is Eminem at his finest, and he even brings along rap battle MC in the shape of Brooklyn’s, Phresher, who has said that Eminem wanted him on this track because it is “Raw as fuck”. Indeed, Eminem rolls back the years and, you can hear signs of “Guilty Conscience”, “Criminal”, “Kill You”, to name three ultra-violent tracks. Indeed, the fucking nutcase adopts his Slim Shady persona to perfection as he gives a detailed account of how he will kill you with your book of shit rhymes by ripping off the wire. An old friend, Kon Artis from Eminem’s group, D-12, features on production.

Untouchable: 

Fucking hell, he isn’t playing on this record. This is Eminem wilin’ out. This time the subject is the state of American politics; in this six-minute scolding track, he uses characters. For the first three minutes, he takes on the persona of a racist white police officer, explaining how he targets black individuals and abuses his authority to terrorise black communities. The beat used for this persona is very guitar-based. Then the final three minutes switch to a moody piano loop, where he raps with the persona of a modern-day black American and how he feels about himself and his community being targeted because of their skin colour. Eminem plays this role brilliantly as he launches scathing attacks on police brutality, segregation, employment discrimination and the hypocrisy about America being ‘the land of the free’. Em proceeds to attack the current president and his party without mercy. Indeed, he may have lost some fans and upset fellow musicians in the process, but does he give a fuck? I very much doubt it. Em always falls on his sword and fuck what you think while flipping the bird in your direction, either metaphorically or physically.

River: 

Emile Hayne produced the track and was a case of the featured artist, Ed Sheeran, who recorded most of the track on a trip to Australia in March 2016 on Russell Crowe’s farm. Ed plays his trademark instrument, the guitar, then the drums and the piano. When Ed finished recording the track, he sent it off to Eminem and didn’t receive a reply

or any form of communication for several months. Once he did, the final product depicts Ed playing the persona of a liar and a cheat, which is then followed by Eminem talking about taking advantage of a Woman, using her for a one-night stand, and regretting the fact it happened, because he never wanted her in the first place, but is being consumed his guilt.

Remind Me (Intro): 

God knows why this couldn’t have been included in the following main track. It is a short 27-second introduction to the entire track as follows. We hear drums, an angelic choir, and Em talking about how a girl makes him do things he wouldn’t normally do. The track ends with some short scratching by a DJ.

Remind Me: 

This track uses a sample of Joan Jett & the Blackhearts’ “I Love Rock & Roll”. Does it still make sense that the short intro was used, as the main track is rock-based? No, not really. In this track, Slim Shady reappears as he hits on a Woman with a big arse and big fake boobs, but this time, Slim Shady is a lot more polite as he does, rather than resorting to his usual upfront misogynistic and sadistic frame of mind. The track is more comedic than the typical psychotic type of tracks his alter-ego is known for.

Revival (Interlude): 

Ah, for fuck’s sake. We finally get to the title track, and it is nothing but a pointless interlude. Remember what I said in my previous article? I can’t stand these: pointless throwaways where a track that wasn’t selected could have been given another chance. Over a piano riff reminiscent of Adele’s “Someone Like You”, we can hear a female voice singing about rising from the ashes. The female vocalist Regina Spektor gave a short sample of her “Human of the Year” track. Wonderfully sung, but still a very pointless interlude.

Like Home: 

Remember when Eminem used to attack homosexuals during the early part of his career? On this track, he stands up for them and supports their inclusion and transgender in the United States military. Once again, he proceeds to attack the current president, and this time, he takes it further than his policies and goes after the president’s physical appearance, saying that he looks like a canary with a beak. He accuses the president of watching Fox News and constantly repeating himself and how he uses Twitter to make political decisions that must be addressed in the Senate or the White House. He also laments about the appearance of the current president in the “Shady Convention” mock political video, which was used to promote Em’s Shade45 satellite channel. He says that he wished he had never included Donald Trump in the video and should have had the foresight to know that he was about to tear apart the values that America stand for. Em still believes that America is the greatest country to reside in and the people need to combat what is happening in the current climate. Although, he thinks the current President doesn’t give a fuck about the people and that there are more than enough people in America against the president’s policies and can rebel against the system. Alicia Keys features.

Bad Husband: 

The title says it all. Em talks in depth about his explosive relationship with ex-wife Kim Scott (Who he has aimed at on several albums. The worst is “Love the Way You Lie”, where he sets the house on fire in the video with Kim in it. Although, he has done far worse lyrically on many of his albums.) and their daughter, Hailie. The song structure sees Em rap to both of them on alternating verses, first of all in an aggressive manner and then in an apologetic tone, where he regrets using them and airing his family disagreements in the media. He also mentions that despite their dysfunctional and violent relationship, it hurt him badly when he divorced and walked away from Kim. Indeed, he compared it to sawing off a body limb—X Ambassadors feature on this melancholic track of conflict and reconciliation.

Tragic Endings: 

This remains on the previous track’s subject of Eminem’s strained relationship with ex-wife Kim. He talks about how he still finds it hard to cope with their divorce, and the feelings remain. Even though he would prefer they got back together, he knows that Kim would hate for him to find happiness with her or someone else and takes great pleasure in watching him suffer after the way it all ended. Frequent collaborator Skylar Grey features on this (She also wrote the opening track on this record.). Her writing is consubstantial with Em to let the listener know how Em feels/felt about their troubled relationship. This line sung by Sklyar sums up the relationship entirely “I’m dying to breathe, and all you do is strangle me. What a relief.” A very powerful message that tells you what that relationship was like. Kim prayed for Em to kill her to set her free. Luckily, it never came to that, but that line alone is enough to tell the story.

Framed: 

Ah, this is once again the real Slim Shady standing up (No awful pun intended.) Remember “97 Bonnie & Clyde” from the 1999 album “the Slim Shady LP”? This track follows that same route, as Slim Shady explains how to kill someone and get away with it in extreme detail while he takes the production back to those days with guitar licks and a repetitive drum loop. He mentions that when killing females, you better wear three layers of clothing, or you will not succeed and end up facing life imprisonment or life on death row as it is in America. Once again, Donald Trump has shots fired at him as Slim Shady has his daughter Ivanka in his boot but has no recollection of how she ended up there (More than likely dead, I presume, as this is Slim Shady.). The track ends in denial, with Slim Shady half-heartedly saying how the missing person was nothing to do with him and that he was, well…framed.

Nowhere Fast: 

Em seems to adopt his alter-ego more as the record goes on. On this fast-paced string section track, he goes after other rappers (No names mentioned at all.) and says that despite his age, he is far from finished in the game and arrogantly expresses that he is better now than when he was at the peak of his powers. He believes he is just starting to reach his prime, and all the youngsters in the modern era are easy prey for him. Kehlani accompanies him and sings about living the fast life and dying young. Something that Eminem somehow managed to avoid. Yes, he lived a fast life, but how he didn’t die young, either through family members, psychotic fans, drug addiction, or his controversial views, is just a mystery.

Heat: 

I was quite shocked on this track because he managed to find common ground with the current president rather than attacking him relentlessly, which has been the central theme of this record. Albeit only for a short time. He talks about grabbing Women by their pussies and agrees with Donald, but that’s it. That is the only time he is mentioned on the track after that. He pays homage to producer Rick Rubin but in a humourous way. He says the female at the song’s centre is hot enough to melt Rick’s beat. Rick’s production on this sees him return to DJ scratching and guitar distortion that served him well on “the Marshall Mathers LP 2” track “Berserk”. The sample used is the introduction featured on the film soundtrack to Boogie Nights (Hence the title “Heat”.) The track even ends with a brief dialogue from Mark Wahlberg’s character.

Offended: 

This track is an intent by him to get into the Guinness Book of World Records in terms of the numerous syllables used and the ferocious speed of the verses. And once again, he is not afraid to talk about controversial matters going after R. Kelly, Donald Trump, his daughter Ivanka and the first lady, Melania. This is Eminem from those early albums, which made people and subjects the target of his songs, and fuck the consequences. Indeed, he is still angry that the current president hasn’t acknowledged his diss about him at the BET Awards. He talks about attacking Ivanka while he hits on Melania to rile the president into responding. Em even takes a moment to show respect to Illa da Producer, who made this saying that the drums and hard snares bring out the worst in him.

Need Me: 

I loved the collaboration on P!nk’s “Revenge” on her latest album “Beautiful Trauma”. We saw Eminem at his most hateful and P!nk following suit. Alex da Kid is again on production as he is on most of the record with Rick Rubin (Illa da Producer, not much.). On this power ballad, his percussion is accompanied by P!nk’s two verses and a chorus before Eminem comes in. The biggest surprise is that he gradually harmonises over her second verse. I can’t recall any track where he does this when collaborating with female singers. This track has a waltz feel where he goes mad about being in a dysfunctional relationship and how she reminds him of his mother, yet they are made for each other.

In Your Head: 

I never saw this coming, but a sample of the Cranberries’ 1994 hit “Zombie” is used and remains underneath the beat throughout. This track features a producer yet to appear, MC/Producer Scram Jones from New York. You might not know the name per sé, but you know his work. He has been working with Ghostface Killah and Jadakiss since the turn of the century, and this is his debut production with Em. Em references previous album comparisons and how maybe after so many wrong decisions in his career, he should have called it a day after his 2010 album “Recovery”? Which saw the Eminem we all became fans of re-emerging from his cheesy pop slumber. Let’s face it who liked songs like “Without Me” and “Lose it”? Utter Pop-friendly shite.

Castle: 

This one reminds me of “Stan”. You can hear the pencil writing on the paper in the sound effects, but indeed, he is also delivering the verses like, he is writing a letter. Rather than adopting a psychotic and obsessed fan, he plays himself and writes a letter to his daughter, Hailie. The first letter is written before her birth in 1995 (Echoing 2Pac’s “Letter to My Unborn Child” premise.), the second a year after her birth (Again, repeating 2Pac/Makaveli tha Don’s “Words to My First Born”.) and third on her 12th birthday. Hailie was twelve in 2007, a year that you would think he would want to forget as he was gradually slipping into darkness after an overdose of methadone almost saw him die. Still, he decides to sign off the letter as he would have done if he did write the final letter after overdosing and saying goodbye. You could say pretty much a suicide note included. Skylar Grey features.

Arose: 

The final track uses a loop taken from the title track of Bette Midler’s 1979 album (She also starred in the film.). This track is a continuation of the narrative of the previous track. Em talks candidly about that overdose addressing his family and former D12 member, Proof, whom he was close with until his demise in 2006. Em says that the death of Proof was the catalyst for his world falling apart the following year. Returning to the continuation of “Castle”, the third verse features on this track and as the track ends without warning. This time, however, it has been altered. Em throws the methadone down the toilet, complete with the sound effect of dawn and the toilet flushing.

Overall: 

This is the Eminem/Slim Shady I have missed for a decade. Save for the 2003 film “Eight Mile” soundtrack, loosely based on his early beginnings in the rap game. There hasn’t been much that has shown his controversial and, one might say, ‘Real’ side. I could not stand the utter cheese on his album after “the Marshall Mathers LP” up to “Recovery”. That’s a decade of shit music. He made me want to listen again after 2010’s “Recovery”. That Eminem, who wasn’t afraid to speak his mind, re-emerged, and it was welcomed. I don’t care if he has rediscovered his controversial nature; that’s what he is to me. I prefer him to act like one of his idols 2Pac, rather than bowing down to the record executives and making chart-friendly hits. Fuck that. That isn’t Eminem, and it certainly isn’t his alter-ego Slim Shady, that’s for sure. This album was fucking brilliant.

I loved all the controversial topics featured and his targeting of popular figures who deserved it. I was a big fan of his first three records, and this harks back to those days for me. Although I have mentioned in previous articles that artists/bands are free to express themselves in any way they choose, it doesn’t really work for Em. Yes, it was nice for him to show his more vulnerable side on this album, but he did it in a way that didn’t use cheesy beats. Rick Rubin and Alex da Kid were amazing on production, along with Skylar Grey, Alicia Keys and Phresher as some of the collaborating artists. I look forward to what Eminem has on his 10th studio album. He’s made me restore my faith in him. 9/10

.

Week Twenty-Two: the Beatles-Sgt.Pepper’s Lonely Heart Club Band 50th Anniversary Edition Re-mastered by Giles Martin

~ honestopinions19 ~ Leave a comment

Sgt._Pepper's_Lonely_Hearts_Club_Band

Sgt.Pepper’s Lonely Hearts Club Band:

This opening song lets the listener know that the album will tell a story as it progresses, with the Beatles accompanying Sgt.Pepper along the way.

With a Little Help from My Friends:

The most famous version of this is by the Scottish band, Wet, Wet, Wet in the early 1990s. Anyway, onto the song. For a change, it is drummer Ringo Starr who takes lead vocals, but not to try to appease the drummer’s fans. This is one of the most uplifting songs ever made by anyone, and here is a fact for you about the mid-tempo groover; it is still performed currently in Ringo’s live shows.

Lucy in the Sky with Diamonds:

Well, this is psychedelic rock with a Beatles twist. Even though the song suggests that it might be about the psychedelic drug known as LSD, there is a strong rumour that John actually wrote it about his son, Julian, after he brought home a picture from nursery (I think.), which had a sky featuring diamonds. John thought that would make an excellent subject for a song. As for “Lucy”? That remains a mystery, but it could have been used for rhyming purposes.

Getting Better:

A double-edge to this track, indeed. On the one hand, it might be very relaxed and let the listener drift off into space, but on the other hand, the song paints a bleak picture of a man who beats his woman up, but he is getting better at cutting this out for good and learning to treat her right.

Fixing a Hole:

Definitely a very psychedelic moment here. What a weird and fucked up story, indeed. It’s basically about the narrator, who is surrounded by people just minding his business and concentrating on fixing his hole, not for anyone’s benefit, but his own.

She’s Leaving Home:

This track talks about the growing generation gap back in that decade when children left home in droves. The track is cloaked with angelic string sections that take the edge off how the story speaks from a family point of view about their daughter leaving home, which makes the family broken.

Being for the Benefit of Mr Kite!:

This can only be described as psychedelic rock and classical combined or, metaphorically, like looking through a kaleidoscope and seeing all kinds of beautifully coloured shapes.

Within You Without You:

A track that draws inspiration from traditional Indian music, and it comes as no surprise that it was written by lead guitarist George Harrison who learnt how to play the sitar with the legendary Ravi Shankar.

When I’m Sixty-Four:

Written by bassist Paul McCartney, this song is very much on the charm offensive, which Paul is so adept at. Although he mentions grandchildren called Vera, Chuck and Dave (sounds like something out of Coronation Street, doesn’t it?), he has no grandchildren with those names.

Lovely Rita:

This is about having a crush on a meter maid (Do you have to ask her name?) and drinking tea.

Good Morning Good Morning:

Ah, another song about this particular time of day makes its way onto a Beatles record. We’ve had “Here Comes the Sun” and “Good Day Sunshine”, to name a few. The most bizarre thing that makes this track stand out is a dog barking on the outro. Fuck knows what that has to do with the morning (dog barking at passers-by or the mail delivery person, maybe?).

Sgt.Pepper’s Lonely Hearts Club Band (Reprise):

This can only be described as the calm before the storm finale—very much an interlude section.

A Day in the Life:

Well, it came as no surprise that on a Psychedelic record, the Beatles would close it with a song about drugs that was written, composed and arranged at the height of what was known as the swinging ’60s. Still, the sound and the vision, which are so fantastic and luxurious, doesn’t bind it to its era. Just like the whole record, it has stood the test of time.

Overall:

I am not a fan of the Beatles, although I probably am indirectly as I am of Oasis, who made it no secret that the Beatles inspired them and let’s not forget that I also like playing Beatles on the guitar. I also like hearing Paul McCartney perform live and am a big fan of John Lennon’s solo material. I feel robbed in that; my generation and generations that will follow missed the opportunity to hear what the Beatles would have sounded like with modern technology (If it was anything like Oasis did then, to quote Noel Gallagher, “Fucking mega!”). Maybe then, I would become a fan, but I have seen all their films and appreciate the marker they laid down for the bands that followed them. I respect their work and chief songwriters, Paul McCartney and John Lennon. Despite not being a fan, I really do like this record, and the re-mastering done by Giles Martin (His father, George Martin was the original arranger of the record and did work with the likes of Oasis) does bring this record to life and into the new age. He certainly does his father and the legacy of the Beatles utter justice. I rate this one of my favourite records of all time, and the eccentric sleeve adds to the vibrant nature. Since I was a child, that sleeve stood out to me. Fifty years on from its original release, the record is still talked about in high regard and upon its re-release, it was no surprise that the album utterly destroyed the competition to sit on top of the charts proving that even in the present day, the Beatles still have a seismic fanbase to topple the formidable, Ed Sheeran.

 

9/10

Week Ten: Ed Sheeran- ÷

~ honestopinions19 ~ Leave a comment

Divide

Eraser:

One thing that struck me when hearing this track is that it has a certain sense of “You Need Me, I Don’t Need You” feel. He foretells how his life has been since he reached superstar status and its effect on him, from those days of just singing in a church, performing in a room to internet viewers and playing out to thousands in well-known stadiums and arenas.

Castle on the Hill:

This song is about being raised in the Suffolk village of Framlingham. It also shows a specific humbleness to the guy who has gone on to be far more in the grand scheme of things. He still remembers where he is from and speaks fondly about the memories he made there.

Dive:

Here, Ed expresses fears about falling too fast into a new relationship. A heartfelt song, which also features some might say a guitar Legend in Eric Clapton. Not for me, but Ed sees Eric as this, and the very first thing Ed performed live in a talent show on guitar at 14 was Eric Clapton’s “Layla”, albeit the rhythm section of the song (He didn’t win the contest, by the way).

Shape of You:

Another song about romance, and this time, it is about praising his lover and enjoying every moment with her. It’s also your typical pop song, which will get stuck in the listener’s head, and Ed puts his hallmark all over it to make it stand out from the rest of the artists in the singles chart.

Perfect:

Another tender moment, which Ed has been known for on his previous albums, makes its way onto “÷”, and why not? This is where Ed shines through and shows his maturity beyond his years. It is also an ode to his girlfriend, Cherry Seaborn. You can’t help but be gripped by the lyrics, “Well, I found a woman, stronger than anyone I know. She shares my dreams, I hope that someday I’ll share her home”. This encapsulates the whole meaning of the song, where you hope your dreams and future are mirrored by the one you have chosen to be your eternal lover.

Galway Girl:

What I love about this is the whole sense of Ireland, from the music, instruments and Ed’s knowledge of the isle. It features an Irish band called Beoga. To think his record company were far from keen to have this rather unconventional song feature on the album because it doesn’t represent a “marketable” product. How wrong they are. Some listeners may not agree with me and find blending pop into Irish music rather insulting. Still, for me, it really works, and I really like this song and can see it featured on many a St Patrick’s Day across the pubs, bars and clubs. And why not? It has an excellent upbeat feel and will help set that jubilant mood on any occasion.

Happier:

This song is relatable to every listener, not just Ed, because it is about finding out your ex has found someone and completing the six degrees of separation. The sixth is when you’re feeling regret and what could have been and that it has hurt you to see someone else in the place that was once yours—a heartbreaking song that will undoubtedly affect you.

New Man:

A comedic side to Ed comes out in this as he indirectly digs at the “bad boys” who seem to get all the women even though they are pretentious arseholes. He also attacks the “meatball heads” you find in the gym pumping iron and blends in funny lyrics about the food they eat.

Heart Don’t Break Around Here:

A gorgeous love song that shows every element of being in love with someone. It also indicates what type of boyfriend Ed is and that he’s that “nice guy”, but I don’t feel who would finish last—some truly witty lyrics hidden within metaphors.

What Do I Know?:

A political message in this where Ed talks about how his status can make a significant difference to the world. He wants to spread unity but also says he must be qualified to discuss politics.

How Would You Feel (Pean):

“Pean” is the middle name of His current girlfriend, Cherry Seaborn. John Mayer features on the track by playing the guitar solo. What more could you want from this romantic song?

Supermarket Flowers:

This is probably one of the most emotionally charged songs on the album. This song is about the feelings you experience after someone close to you has died(in this case, Ed’s grandma and how his mum reacted to the passing the moment she passed). Although this song may be about death, the lyrics are tragically sublime. For example, the song mentions feeling inconsolable but, at the same time, reflects on all the beautiful moments you shared with that person. I can’t say I cried after hearing this, but if you don’t feel anything or stop to listen to the lyrics, then you have a heart of stone.

Barcelona:

Although the song mentions Barcelona, it is really about doing those spur-of-the-moment things during a new relationship. It is a recurring theme in this record, and you can tell that Ed is in a perfect place with his love life. The song even has a Latin feel, and you do feel like you’re in Barcelona when listening to it. Not only is this a great tribute to doing mad things in a relationship, but to Barcelona, as he mentions dancing in the moonlight of the Catalan capital.

Bibia Be Ye Ye:

Ed goes all African here (Ghana, to be exact). “Bibia Be Ye Ye” is Ghanaian for “All will be well”. This track was co-written with Fuse ODG (coincidentally half Ghanaian) and focused on changing a stormy night into a better day. This a mantra we should all live by because, as Sofia Serrano, portrayed by Penelope Cruz, says in the film Abre Los Ojos/Vanilla Sky, “Every passing minute is another chance to turn it all around”. Or to quote 2Pac on “Me Against the World”, “I Know it seems hard sometimes but remember one thing. Through every dark night, there’s a bright day after that. So no matter how hard it gets, stick your chest out, keep ya head up…and handle it”.

Nancy Mulligan:

Back to Ed’s Irish roots. This time he narrates the love story of his grandparents and how his grandfather fell for his grandmother in County Wexford. The track is very knowledgeable about the county and what his grandparents did on their way to romantic destiny—another great song with Irish country music featuring heavily with the Ed Sheeran touch that does it justice.

Save Myself:

Well, the final song on the record jolts you back to reality and pulls away at your heartstrings. Ed once again bares his soul to such remarkable effect. The song discusses all those dangerous friendships where people use you for their own ends and how it makes you feel throughout the duration and when you realise their genuine motives and cut them off and the lessons you have learnt from it from now on. Not exactly going out in a blaze of glory to finish the album, but a great song nonetheless.

Overall:

I thoroughly enjoyed this record, and it is a return to form, and I rate this above his stunning debut album “+”. I didn’t find fault with any of the songs and could play this through without skipping tracks until I am ready to meet my maker. A beautiful album, and the narration from start to finish is more like reading a book than listening to the album. Fucking brilliant, Ed! I have never given ANY record a perfect score until now.

10/10