Folk

Week 19: Arcade Fire- WE

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Win and company took on board the harsh criticism of “Everything Now” and the poor sales to make a more Arcade Fire record. I cannot understand why their previous album, “Everything Now”, was so widely panned by critics because I gave it a glowing review and thoroughly enjoyed hearing the tracks performed on tour. Many say it was a trip into the unknown for Arcade Fire, so it didn’t suit their style. However, in “WE”, the band have returned to what the fans and casual listeners loved them for. They employed the services of the legendary Radiohead producer Nigel Godrich, with Geoff Barrow from Portishead, Father John Misty, and another music legend for his production and as a member of Genesis and solo artist Peter Gabriel. Quite a mixture of producers and some contrast between Nigel and Peter.


As you can imagine, the album contains songs that tear off arena roofs and pierce the stadium sky. You have juddering synth pop-rock, which balances elements of the War on Drugs, the Killers, and, dare I say it, Slowdive. Those elements are found in ‘Age of Anxiety I’ and the two-part ‘the Lightning’. I say “two-part”, but for me, it isn’t. Why? Even though some of the songs are split into two parts, they sound more like a continuation of the previous part with a few subtle adjustments in the second part. You then have what can only be described as folk with a pulsating bass for ‘Lookout Kid’. It was ‘End of the Empire I-IV’ where the introduction echoed the late John Lennon’s ‘Imagine’. It may have carried on in the same vein, but after it passes the introduction, you soon realise it is an entirely different song altogether. This is the longest track, clocking in at nine minutes when you combine the two tracks. Given the current landscape within music, the band took a risk by going with a song that sounds like John Lennon might have written it, but then Arcade Fire knew their fans would appreciate it. After all, the band are not known for churning out generic pop.


There are a few flirtations with other sounds like ‘Age of Anxiety II(Rabbit Hole)’, which seems to change from the first part entirely and head into dance territory. Even with their experimentation, they kept the listener interested, which they failed with on “Everything Now” (I need to revisit my review to see if I concur with the consensus.). To my astonishment, the songs were also poorly received during the previous tour, which I cannot quite fathom. I enjoyed the majority of the songs on that tour.

The only element kept from “Everything Now” is the lyrics. The band once again aim at the adverse effects of the internet. Some of the songs are just dire. For example, ‘Age of Anxiety II(Rabbit Hole)’ with ‘Rabbit hole, plastic soul, born into the abyss, new phone, who’s this?’. I mean…wow. It’s not going to be nominated for an Ivor Novello, right? The instrumentation rescues the lyrics, which is a shame because I have heard their iconic songs with deeper meanings, and the lyrics are more polished. This reminds me of what Liam Gallagher tends to write when he isn’t getting assisted by other songwriters.

I enjoyed “WE” for most of the listen, but then I enjoyed listening to Arcade Fire. They looked at the previous record’s reception and took action to ensure they were not forgotten about or relegated to a lesser stage at the festivals. The band has ensured they will remain high up the bill at festivals by going back to basics, save for the lyrics. 


Song recommendations: ‘End of the Empire I-III’/End of the Empire IV(Sagittarius A*), ‘the Lightning I/the Lightning II’,
‘Age of Anxiety I’


7/10

Week 39: the Lathums- How Beautiful Life Can Be

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I have heard of this four-piece band from Wigan (Yes, the same place as the Verve.)since 2016. So, I know an awful lot about them through followers on Twitter. They used to post videos of the band and do polls on the next up-and-coming talent. Indeed, I wasn’t unfamiliar with the Lathums when listening, but I was excited to hear what their album would be like. It was like I did with the Snuts I mentioned before; I also knew of them before their debut record was released. Frontman Alex Moore has also worked with someone else I knew through Twitter followers, and I have personally engaged with the highly talented Rianne Downey (Look out for her. She’s only just getting started in the mainstream.).

Unfortunately, the Lathums signed just before the pandemic hit, so instead of spending most of 2020 touring, they had to find other ways to get their music across. The band hadn’t been out on the road doing arenas and festivals before this year save for their 2019 appearance at Kendal Calling at the request of the Charlatans frontman, Tim Burgess. The band played in small venues like public houses before this year. The biggest being their local called the Crown.

One pro from the pandemic, and with everything locked down, was that the band could focus entirely on the writing and the sound without any distractions. The title has a hint of irony about it because the record is quite melancholic. Of course, that is alright because the likes of the Smiths and Oasis pulled it off well. They made the melancholy blend into relatively upbeat instrumentals. Alex has said that sadness encourages him to write because it is hard for him to write when he isn’t feeling sad. He believes that writing while feeling down in the early days gave him the ability to connect emotionally once turned into a song. It wouldn’t surprise me if Alex were a fan of the Smiths.

Coral’s frontman, James Skelly, is on production, and of course, James brings his band into the sound, but I can also hear the Smiths, the Libertines, and Space, who are from Skelly’s native Liverpool. Alex looks like Ragnar “Raggi” Þórhallsson from of Monsters and Men, but they also sound vocally alike in some ways. However, Alex has his unique style and is more soulful than Raggi. You could also assume Alex sounds a bit like Marcus Mumford because Raggi does, too. 

The album opens with ‘Circles of Faith’, and despite its upbeat nature, my ear was immediately drawn to how much it sounded like the Smiths. Some might argue it is more like the Stone Roses, but I do not share that opinion. I also felt the same on ‘Fight on’ and several more on the record. The latter is full of heart-wrenching lyrics like, “There are tears in my eyes as I am forced to fight against an occupation. One greater than I”. This is a pop at the establishment, and many of us in the arts feel this way. I also found the band got political on ‘the Great Escape’ as well.

Things start to get calmer on ‘I’ll Get By’ as the acoustic guitar appears and the Lathums go more folk. As usual with that genre, the song reflects on mistakes made during a relationship and how you need your significant other to save you from feeling pain. ‘I Won’t Lie’ reminded me of the Libertines. Can I elaborate? I am not sure I can because the Libertines have always played at that tempo most of the time. It sounds like the kind of song associated with the Libertines. Then, ‘I See Your Ghost’…well, from a band from Wigan, it has its roots in Liverpool. It’s uncanny how much it sounds like them. As I mentioned earlier, there is an element of Space somewhere in the record, and this is it. 

Again, you have heard that adage, “Where is all the guitar music?” as mentioned in the Snuts review, it is here. It’s all here: the Lathums, the Snuts, Citylightz, Skylights, HoneyMotel, the Crooks, Rivieras. Even Rianne Downey is going to take the British folk scene by storm. Just open your ears, and you will find that guitar music isn’t dead.

Song recommendations: ‘the Great Escape’, ‘I Won’t Lie’, ‘I See Your Ghost’

9/10

Week 18: Tom Jones- Surrounded by Time

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If you don’t know who Tom Jones is, I have yet to find out where you have been. The man is an absolute legend in the industry, and although that term gets saturated and loses its meaning, it is entirely true when it comes to the Welsh king of Pontypridd.

I not long ago finished his book this year, which I highly recommend for the fascinating insight you get on his life and how he went from a rat-infested apartment he was sharing with his original band in London to his very own mansion in Surrey after that hit, which wasn’t written for him was then put in his hands to bring to life. Tom went to Las Vegas and befriended the late Elvis Presley when he sold out days and nights doing the club and hotel circuit. However, with that came the barren years where Tom wouldn’t release new material and the rumour across the pond that he was dead due to lack of activity. It was when his manager Gordon Mills passed away, and his son Mark took over and revived his career. Mark had rescued his career from obscurity by scoring chart hits and working with several new artists. He performed on Jonathan Ross’s Channel 4 show, the Last Resort, in the 80s, which regenerated interest back home, and from there, he hasn’t looked back as his career has got even stronger than when he first came into the limelight.

He was even signed to the same label as Tupac Shakur in the mid-90s. How is that for a story? Tom regularly saw the Death Row entourage while he frequented Interscope. Unfortunately, it didn’t work out at Interscope. Still, Tom’s resurgence had begun, and from there, he went on to secure the legendary status his career was in danger of once coming close to losing altogether.

Now, let’s get to “Surrounded by Time”, an album full of covers and a few surprises. Staggeringly, this is Tom’s 40th studio album; when you consider the majority of the 1970s and 80s, he needed fresh material. It is different from your usual record of typical covers. Tom has even dared to show another side to his vocals by adopting spoken word, which I highly admired, and it made me see him in another light I haven’t witnessed since I first heard him many years ago (I honestly cannot remember where and when).

The songs on the record range from Todd Snider’s ‘Talking Reality Television Blues’, Malvina Reynold’s ‘No Hole in My Head’, and Bob Dylan’s ‘One More Cup of Coffee’. Rather than simply being a covers album, it reflects Tom’s life and getting around to the songs he wouldn’t attempt to do at a younger age. For instance, ‘I’m Growing Old’. When asked about performing it, he told Jools Holland he couldn’t have done it at 30 because the song wouldn’t have had meaning, so he planned to wait until his 70s to cover the song, albeit he didn’t until he hit 80. Tom said he was still determining if he would grow old with his lifestyle. But now, when he performs it, you can hear what he was driving at 30. The song is delivered more from the perspective of Tom being old.

‘Pop Star’, which is a Cat Stevens cover, has an electronic 80s vibe to it, ‘No Hole in My Head’ is a bouncy psychedelic rock number, ‘Talking Reality Television Blues’ (Which is my highlight) is brilliantly delivered by Tom through the medium of spoken word with a rock ambience. ‘I Won’t Lie’ is a beautiful acoustic folk song with strings and synths enveloping it, ‘Ol Mother Earth’ is another spoken word track over an ambient piano, and then ‘Lazarus Man’ to close out the record is a spoken word track with like a hybrid of 80s electronica (You know, Orchestral Manoeuvres in the Dark-type stuff) with a psychedelic guitar of which you could imagine the late Jimi Hendrix closing his eyes and getting lost as his fingers work their magic on the fretboard and strings, like the Who meets Led Zeppelin.

I could have made this review an entire book on Tom’s life, but I would have been here probably this day next year before completion. Going back to ‘I’m Growing Old’, it, funnily enough, was released the year of his birth and makes it even more poignant to have it on his latest album. It is also an acknowledgement by Tom that he is nearing his mortality. Still, instead of letting that reality suffocate him, he is ready to enjoy his remaining years with dignity. Who knows, he might surprise us all and live past 100. Until then, he will continue living his life, enjoying his career his family, and drinking anyone under the table who dares to challenge him.

Song recommendations: ‘Talking Reality Television Blues’, Lazarus Man’, ‘No Hole in My Head’

8/10

Week Thirty-One: Taylor Swift- Folklore

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the 1:

The opening track is about a perfect scenario if someone from her past relationships survived the course and lived happily ever after, rather than the usual song about her pain of breaking up with someone, which most of Taylor’s songs have been the subject of. Once again, Taylor doesn’t hold back on her language; from that, you can tell that what’s in store for the rest of the record is pure honesty.

Cardigan:

This track was released as the album teaser, and the obligatory video was subsequently released on the same day as this album. This song is about Taylor about being done wrong in a past relationship by being cheated on. I say that because it is done from a first-person perspective, and I imagine that Taylor is talking about it and how she has learned from it and can now sense the signs to get out before getting extremely hurt. The vocals reflect the maturity of the topic, and she is not being overly aggressive or even shouting her vocals. When talking about such a subject, that shows great restraint.

the Last Great American Dynasty:

Wow, this is a highly controversial subject to touch on. Living in England, I cannot say how much this would piss off the American folk because it is just a touchy subject for me, but it wouldn’t rattle anyone in England and Europe when she is digging up the past. For Americans, this is very controversial. The subject of the song is the Rebekah and Bill Harkness scandal. Rebekah is a middle-class mid-western, and Bill is the heir to the Standard Oil fortune. Why is it controversial? Because their marriage caused an uproar 70-odd years ago. Another reason why Taylor wrote this is because she happens to live in their mansion in Rhode Island. This is her finest songwriting to date. It combines the story of the scandal, yet she manages to draw comparisons to her own life.

Exile:

The album’s first feature is a duet with Bon Iver’s Justin Vernon, where they both have various views on a breakup. The vocals fall in synchronisation with the piano.

My Tears Ricochet:

If you thought “the Last Great American Dynasty” was controversial, this is more controversial. Taylor doesn’t hold back as she takes a swing at the fucking idiots who somehow managed to stop her from regaining the rights to her masters for her first six albums (I believe one of the arseholes involved is Scooter Braun, as I saw it unfold on social media at the time?). It is a pretty sad song as Taylor is in her coffin, and I imagine Scooter turns up at her wake. This appears to be a metaphor that your enemies will destroy you and still dare to attend your funeral/wake to mock you even after death. I commend her for shining a light on the subject of how you can get fucked over in the industry and lose the rights to what is rightfully yours.

Mirrorball:

One of Taylor’s favourite subjects to touch on is her love and hate-affair with the fame she has amassed through her talent and the attention, whether wanted or unwanted, that unfortunately comes with the music and songwriting. However, this is the first time that she has spoken so candidly about that affair. She talks about how she wants to please people and adapt to their wants and needs from her.

Seven:

How ironic that the seventh track should be aptly titled “Seven”? The subject of this Folkstyle song is about a friend trying to protect her best friend who is deeply traumatised desperately. The lyrics suggest that the best friend lives in an unhappy home where her father constantly shouts at her. The friend trying to help her mentions playing pirates at her house to escape the brutal reality of her home life.

August:

As we approach the halfway stage of the album, we hear part two of where “Cardigan” left off. This time, from the perspective of the “mistress”, over a faster melody and vocals full of optimism.

This is Me Trying:

This is Taylor baring her soul by revealing how she is only human with her mistakes, doubts, trust issues, and failures.

Illicit Affairs:

It is nice to see a song on this record wrapped around a guitar with its witty lyrics and emotional feelings.

Invisible String:

Taylor is known for writing songs about her exes, but this track shows her devotion to her boyfriend, Joe. It is quite biographical and mentions how fate played a part in bringing them together.

Mad Woman:

The fable to this song is about a widow who was made an outcast in her town and took revenge on it, but there is a deeper, more personal meaning by Taylor here. Taylor is charming here by not going directly to the issue she addresses. This song is hidden within a metaphor, but through the raw emotion in her vocals, you know that she is extremely pissed off with what the real issue is at hand here. This track seems aimed at all the misogynists who have made her life hell.

Epiphany:

This track is split into three subjects. Verse one is about her granddad’s post-traumatic stress disorder he suffered while serving in the US Army in World War II. Verse two is about those in the medical profession currently dealing with the pandemic, which has made their jobs both a risk and a living hell, and the chorus fuses both of these subjects and portrays her granddad and the medical professionals as American heroes. My only issue with this powerful song is it might lose its meaning with the production, which was Taylor opting for a Hymn.

Betty:

This track is done from the perspective of a male named James, where he takes a feminist view and says the man brought it all upon himself for cheating even though he is now feeling guilty and heartbroken that the woman in the subject of the song has moved on and found someone better. What’s more refreshing about this is that James takes the feminist view rather than confiding in another male.

Peace:

This song is dedicated to Joe, but Taylor asks if she will ever be enough for anyone when you consider her lifestyle and all the attention that comes with it. The sincerity in her vocals shows she is extremely passionate about the topic.

Hoax:

Seeing an album end on such a dark and sour song is very unusual. This track explores the impact of a toxic relationship but with reflection rather than anger. It’s a beautifully emotional song.

Song recommendations: “My Tears Ricochet”, “the Last Great American Dynasty”, “Hoax”.

9/10

Week Twenty-Six: Bob Dylan- Rough and Rowdy Ways

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rough-and-rowdy

Well, it is only fitting that I do an entire track-by-track review of Bob’s latest and 39th album:

I Contain Multitudes:

As you will discover as the record progresses, most of the songs are over five minutes long. The opening track was released as a teaser for the album, which happens with most soon-to-be-released albums. As I said, most of the songs are long, and this was no exception, but keep your attention focused and listen to what is contained in this spoken word track. It may start differently than a typical Dylan album, but it is still worth listening to. It felt like I was listening to the start of the record as dawn broke, and I thought it sounded familiar to the late John Prine’s “All the Best”. Bizarrely, Bob even sounds a bit like John on this one. What will surprise you is that the song pretty much doesn’t reflect the usual Dylan material, but the lyrics inform you that it is indeed the genius of Bob at work.

False Prophet:

Yet another one that Bob used to tease the album release. From the sombre mood of the opener to the more lively following track laced with Bob’s dark humour.

My Own Version of You:

Now, this might go down poorly with the hardcore element of his fan base. Remember what happened when he ditched the acoustic guitar to play more electric originally? He alienated a fan base by doing so but didn’t give a fuck and did what he wanted to do. Of course, he still played a balanced set after all the furore over it, and again we see Bob doing what the fuck he wants to. Why? Because this sounds more like Bob rapping than actually singing or spoken word. I love his wordplay and his delivery on this track. I also like rap, so this track doesn’t make me get all angry at Bob’s attempt to do something creative. Anyway, that’s who he is. He is an innovative artist who gives himself no boundaries in the expressive arts kingdom. His hardcore fans should give it a listen and a chance.

I’ve Made up My Mind to Give Myself to You:

A rare glimpse at the moment with Bob’s songwriting as he focuses on the subject of love. It also reminded me of “Is Your Love in Vain” and the track he wrote for the Home Box Office serial crime drama rated one of the best in the world, the Sopranos. Bob usually struggles to convey his messages with sincerity regarding love songs, but he delivers this song with absolute conviction.

Black Rider:

Well, you will have noticed that most of the album is more spoken word, and this song is no exception. Indeed, if you thought the tracks were delivered in the same vein as the late Leonard Cohen, you will hear something very familiar in the form of Leonard’s “You Want it Darker”. Although about mortality, the topic hits the nail right on the head with how it is portrayed. Nick Cave or John Cooper Clarke, fuck it, even Dave could turn this into a cover that justifies Bob’s work later down the line. Of course, their version won’t beat his, but they could do it at some event in his honour in a couple of years. I mean, like a recognition event for his work. Many of which he has already had.

Goodbye Jimmy Reed:

Now, we are on common ground with Bob’s material. So far, the album has been unique and captured our attention. Not to say anything is wrong with Bob bringing familiarity to the record, but this is a safe option with all that has happened so far.

Mother of Muses:

It feels more like a Christmas song, and who knows, maybe this will be released just in time for this year’s yuletide? There’s also a change in vocal direction as Bob sings on this one, and I describe the delivery as melancholic yet beautiful.

Crossing the Rubicon:

It’s a blues song that captivates you with its slow arrangement. That is the track in an absolute nutshell.

Key West (Philosopher Pirate):

This is one of his very best, alongside all his work, and I am not exaggerating. Definitely the best off the record, but it goes much further than that. This is Bob at his finest. He still has it in him to write timeless classics, even at this late juncture of his career. It is a better version of all his tracks that do not get the recognition they deserve. His vocal delivery and melody are one. Even if this album hasn’t been to your liking so far (Trust me, it’ll grow on you in time.), you have to give this track a listen. Bob has written a classic that will be spoken about long after the current people occupying the planet are dead and gone.

Murder Most Foul:

What’s impressive about the final track is he had the fucking balls to release it as a single! It is only FIVE seconds short of SEVENTEEN minutes! Incredible! It is also his longest-ever song, the first single off the album. The sleeve has a picture of the late John Fitzgerald Kennedy; indeed, that topic is the assassination of the 35th president of the United States. The song itself was an accidental release. It appears as it was uploaded onto Bob’s YouTube account. Imagine Bob has ended an album with two masterpieces that look like they are going down as his timeless classics. No need to imagine anymore because he has finally done it on this Leonard Cohen-esque record. Bob said he did this album for him and him only, but stick with it and keep listening, and I guarantee even the hardcore fans will get it. It’s a shame he was up against Neil Young for the top spot, but Bob thoroughly deserves to sit atop the rest of the competition again.

Song Recommendations: “Key West (Philosopher Pirate)”, “Murder Most Foul”, “My Own Version of You”

9/10

Week Seventeen: Gerry Cinnamon- the Bonny

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s-l1600

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

Canter:

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

War Song Soldier:

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

Where We’re Going:

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

Head in the Clouds:

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

Dark Days:

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

the Bonny:

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

Sun Queen:

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

Outsiders:

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

Roll the Credits:

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

Mayhem:

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

Six String Gun:

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

Every Man’s Truth:

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

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

8/10