Hip-Hop

Week 9: Gorillaz- Cracker Island

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In 1998, just as Blur were heading towards a decade of “splitting up” (Of course, they reformed in 2009), their frontman Damon Albarn got together with Jamie Hewlett to come up with the concept of a virtual reality band complete with their little realm, which contains cartoon stories within their website, and videos. After a lengthy period in Japan designing the characters, et cetera, they would name the band Gorillaz consisting of 2-D on vocals and keyboards, Murdoc Niccals on bass, Noodle on guitar, keyboards and vocals and Russel Hobbs on drums (Pretty sure the drummers is named after an electrical appliance company) The band would hail from England, except for Russel who is American.

The original voice for Russel is now the band’s producer. Musicians and comedians also voice the characters. Damon and Jamie, the only human members in the band, started with the cartoons taking centre stage during the live shows, with screens blocking the human musicians. In 2005, the humans would become visible, albeit in the guise of a silhouette. Eventually, in 2010, Damon and Jamie would come out from behind the screens and bring the human musicians to the fore. Gorillaz has remained that way ever since, with the cartoons beaming on the backdrop screens.

It might prove a little tricky for Damon to tour “Cracker Island” as he is due to go on tour with his original Blur this year, where they will play a mammoth show at EE Stadium, Wembley, and several festivals across Europe. It’s a good job his other band, the Good, the Bad and the Queen, are on a hiatus, or he would never get some rest.

Gorillaz has had past members Paula Cracker, Cyborg Noodle, and Ace among the original and present members. They may not be everyone’s cup of green tea. Still, there is no disputing they have fans across the board, from the likes of Noel Gallagher, who has collaborated with them from the generation where blur and Oasis were popular, to Billie Eilish, who is the new generation who probably know very little about Blur’s prime. Billie invited Damon onstage at Coachella last year, where she confessed she is a fan of Gorillaz and performed ‘Feel Good Inc’ with the Gorillaz co-creator.

Many believe the band lost their way until 2017, with “Humanz” being hailed as the album where they got their mojo back, and it was praised for its experimentation. Since the critical acclaim for “Humanz”, Damon and Jamie have stuck to that path of having records with versatility. You have to look at the vast array of featured artists to see this, from Noel Gallagher, Elton John, Beck, Tame Impala, Robert Smith, Georgia, Peter Hook, De La Soul, Thundercat, Sweetie Irie, and the list goes on.

After “Humanz”, they followed that up a year later with “the Now Now”, an album described as lo-fi pop. Their previous record in 2020 was “Song Machine: Series One”, which had some far-out videos that complimented the far-out music. Once the band got the chance to take it out on the road the past two years, it was warmly received by fans and festival goers.

Gorillaz has already established its name and can afford the luxury of making a record safe or risky. It is not as good as “Song Machine: Series One”, but it is a polished album of psychedelia, indie, hip-hop, shoegaze, and reggae sprinkled with the unique sound of Gorillaz. It isn’t trying to be groundbreaking or needs to be. The opener is the title track, featuring a fantastic bassist I have been a fan of since 2017, a lad called Thundercat, known for playing a six-string bass with a jazz and hip-hop-infused flavour. For the title track, Thundercat brings the funk and jazz on his six-string bass played with his fast fingers, which he is known for. I cannot wait for Damon to invite him onstage to play this. Honestly, seeing him play bass is a sight to behold.

The last paragraph got too elongated, so I am continuing with the tracks in this one. My favourite is the next one, ‘New Gold’, featuring Tame Impala. This is quite psychedelic, and Kevin Parker brings a catchy chorus while Damon sings the verses. My only complaint with the record is that it needs to be longer, with a runtime of just over 37 minutes, which limits the number of guests. I was surprised to see Fleetwood Mac’s Stevie Nicks feature, but in all honesty, should I be? Gorillaz is known for obscure guests. Her appearance on ‘Oil’ synchronises with Damon’s vocals.

There is a surprise along the way with an element of Latin music on ‘Tormenta’; even the title adopts that. The track features Bad Bunny, who raps along in Spanish about how complicated love can be. The album is neither here nor there regarding structure. It is spontaneous. All the band cared about was making a polished, enjoyable album for both them and the listener. After hearing their records, you can see why they pull in the crowds on tour and at festivals. The band have always had a following, but towards the beginning, quite a majority, be it listeners or their peers, saw the band as a joke and novelty act, but fast forward to 2010 onwards, and the listeners and their peers could see that Damon and Jamie were fucking serious and professional about the band. They have worked with gospel choirs, strings and many well-known artists. Some of them doubted them in the early days and dismissed their professionalism. 

I found it a pleasing listen, and in a way, I was surprised by the production because I was expecting an album in the same vein as “Song Machine: Series One”. Instead, you get an eclectic range, and most surprising was shoe gaze, synonymous with Ride and Slowdive. The record closes with ‘Possession Island’ with Damon on mellotron and the brilliant Beck singing tenderly. We don’t hear his falsetto, but you listen to him sing melancholy sublimely.

Song recommendations: ‘New Gold’, ‘Cracker Island’, ‘Possession Island’

8/10

Week 48: Stromzy- This is What I Mean

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I have enjoyed his previous two, but this one turned out to be disappointing. Unfortunately, Stormzy has discovered auto-tune, which makes a potentially good album utterly shit. I am not putting sugar on anyone’s cornflakes. This album was rather enjoyable to listen to until THAT kicked in. There was one particular song I was getting into (I believe it was the title track.) featuring the multi-instrumentalist/singer/beatboxer Jacob Collier, with his phenomenal harmonising. Still, it was unfortunately ruined by a rapper using auto-tune. Jacob features quite heavily on this record, but most songs could be better. I only enjoyed two songs because they were auto-tune-free. ‘Please’ is spoken word over keys and a gospel choir, and ‘Need You’ is spoken word over Afrobeat. This is the first time I have heard Stormzy perform spoken word, and it was refreshing to hear. 

Song recommendations: ‘Please’. ‘Need You’

4/10

Week 38: Blackpink- Born Pink

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When I checked to see who was number one, I had no idea who the girl band from the Korean Republic was. Funnily enough, they came up in an Answer Smash on Richard Osman’s House of Games that same week. That was my first introduction to them (Safe to say, I didn’t get the answer because I had no idea who they were).

So, who are Blackpink? They are a K-pop girl band from the Korean Republic and the female equivalent of the highly popular BTS. The band consists of three members: Jennie, Lisa and Jisoo. They sing in both Korean and English. In 2020, they released their debut titled “The Album”. A usual title, but in all honesty, I wasn’t aware of it. According to the research I have done, the problem with their debut is that it became too overloaded with K-pop with no versatility.

So maybe it was a blessing for me to review their sophomore record because, from the first listen, it made my ears prick up. I must confess, when I heard they were a K-pop girl band, I wasn’t looking forward to listening, but it took me by surprise. The album has plenty of versatility from K-pop, RnB, rock, hip-hop, and the occasional piano ballad.

The album opens with ‘Pink Venom’, the teaser released several weeks before the record. The song appears to be heavily inspired by Rihanna and the late Notorious BIG. So, you already have RnB and hip-hop combined on the first track, complete with the band’s name chant.

The second track, ‘Shut Down,’ has a gunshot sound effect over violins and a heavy bassline. The standout performer in the track is Jisoo rapping, which appears out of nowhere.

You will learn that many songs are about female empowerment, and just like the opener, ‘Typa Girl’ follows the same path. You may think the song is sweet and innocent as it begins with a child-like synth, but no. It abruptly goes into a heavy piano, and that is then followed by silence. When the song returns, the members swap verses expressing empowerment. For example, one of the lyrics is ‘I bring money to the table, not your dinner’. A cutting snipe at the misogynists all over a trap beat—a song bombastic in production and lyrically. 

So, the first part has plenty of attitude, so what about after the halfway point? We begin with ‘Hard to Love’, a piano ballad that takes a surprise turn and switches up into a disco beat. Well, more disco funk. The guitar part was Nile Rodgers-esque. ‘The Happiest Girl’ is probably one of their only melancholic songs on the album describing the need to be happy during tough times. ‘Tally’ brings the attitude over rock instrumentals, where the band stresses the importance of being yourself and standing out from the norm.

What else can I say about the record? Well, they have learnt from their debut (I still haven’t heard it. Just going by the research.). “Born Pink” is full of versatility, which always keeps the listener interested. I found the production and the band all on point. A sublime listen, and not what I expected. I couldn’t give a fuck if they are K-pop; this was brilliant.

Song recommendations: ‘Tally’, ‘Hard to Love’, ‘Shut Down’

8/10

NB: I appear to have omitted Rosé from the review. Sorry about that. There are four members.

Week 33: Kasabian- the Alchemist’s Euphoria

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Serge Pizzorno was born to be the frontman since Tom Meighan’s valid departure. Serge has been brilliant taking on the role during the current tour. Seeing the band and the ferocious levels of energy Serge brings has been a pleasure. The new album incorporates the S.L.P., which is the solo moniker of Serge. Here is the reason why in a track-by-track review coming up shortly. Firstly, I would like to say that maybe the purists will not like this new-sounding Kasabian, but for me, it works. You have elements of hip-hop, grime, indie/alternative rock, and futuristic sounds. 

Now, onto the review. I am not sure how this will play out; I might get carried away, or it might be short. Bear with me:

ALCHEMIST:

STOP SHOUTING! You discover that the majority of the titles are stylised in block capitals. The opening track is the sound of waves crashing, which is unusual for an album by Kasabian; however, this is under Serge’s command. Serge sends a clear lyrical message about the direction the band is heading under him. The lyric ‘Shut the door on your way out if you’re leaving’ is a clear message to those fans who dislike the new dawn because It IS a new dawn.

SCRIPTVRE: 

Unlike many of you who saw the band perform live, my introduction to the new Kasabian was when they appeared on the Spring edition of Later…with Jools Holland. I loved Serge’s energy during this performance and how he had the audience, fellow artists, and Jools Holland in the palm of his hand. I loved the attitude in his vocal delivery/ rapping and the profound lyrics that indicate the onus now put on him. This performance alone showed me that the band were in safe hands under him.

ROCKET FUEL:

The first track that reflects the remnants of the old Kasabian in terms of how it keeps your attention; the track is more suited to beat break with 808s, hi-hats, and hip-hop( Expect a lot of hip-hop and grime.).

STRICTLY OLD SKOOL:

Serge again touches on the changing of the guard and how he brings a sense of originality to his concept for the band.

ALGATYR:

Another track that was performed on Later…with Jools Holland. The vocal sound effect is adopted by bands such as Muse, who use it significantly in their “Supermassive Blackhole’ song. The overall sound is powerful, and Serge’s rapping could efficiently be utilised over a grime beat. Another song full of energy and lends itself more to grime than Kasabian’s once rock sound.

AE Space:

Why, oh, why do artists/ bands do this? I have no time for interludes/preludes. They are nothing but short throwaway tracks where either the lyrics were not built upon or simply the writer(s)couldn’t be bothered. These intermissions, to me, are merely a “Fuck it. That’ll do” moment on an album.

THE WALL:

A melancholic song about relationship troubles.

T.U.E(the Ultraview Effect):

This one has the essence of a Pink Floyd song and certainly takes its roots from progressive rock.

STARGAZR:

Futuristic sounding track with keyboards gives it that space feel before completely turning on its head after the halfway point and becoming more hip-hop that you would have heard in the 1990s. Not surprising when you consider that Serge would have grown up with that kind of hip-hop being a young kid in the 90s.

CHEMICALS:

Now, I did hear this one before the album was even named. I believe they were performing in Glasgow. I remember seeing this on YouTube. Serge’s message is, “It’s going to be tough without Tom, but stick around, and things will improve under me”. It’s more a song of assurance addressing the fans.

AE Sea:

Another pointless interlude includes the sound of the waves crashing. A moment of calm, if you will, on the record.

Letting Go:

The acoustic guitar makes an appearance to close out the album. A song of what’s been has passed. Serge talks about the past, referring to the old Kasabian and the future with him at the helm. He even brazenly adds at the end, ‘It just got better now’. When you hear this record, you will understand why. This is the new dawn, and it’s going to get better. Serge is taking Kasabian into another realm, and you want to jump on the spaceship for it.

Song recommendations: ‘SCRIPTVRE’, ‘ALGATYR, ‘STARGAZR’

8/10

Week 14: Red Hot Chili Peppers- Unlimited Love

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I have no idea how I got into the Chilis; they just appeared out of nowhere. I just fell into them. I don’t know how. I just seemed to hear them everywhere I went as a kid. I don’t even know what track I liked back then. Anyway, “Unlimited Love” is their twelve studio album over a nearly four decades-long career. John Frusciante has also returned, and Rick Rubin has been called upon to help propel the band back to their peak years. 

The opener is ‘Black Summer’, which I believe is also the lead single because I saw the obligatory video on YouTube.John brings his signature solos, which the band and the fans have missed. It sounds like a track that belongs on their 2006 album, “Stadium Arcadium”, which is my personal favourite of theirs. The song title and lyrics in the chorus could be a nod to John because the band have been going through a “black summer” without his guitar licks and riffs. The second track leads off from the opener with Anthony Kiedis back to his best vocally. ‘Here Ever After’ also sounds like a classic Chilis song.

Flea’s turn is to showcase his talent on the funk-induced ‘Aquatic Mouth Dance’. However, the upbeat song feels like it was made as an Adult Swim track. What do I mean? I can see it being used in one of the shows on the channel or those little skits you see before the following programme. It was nice to hear trumpets and a saxophone, which I can’t recall hearing on many of their tracks.

There are acoustic moments on the record, but the songs lose meaning because they are too long. Especially ‘Not the One’, which is someone saying to their lover this isn’t going to work out because we are different.

Unfortunately, the downtempo doesn’t stop there as we head into ‘Poster Child’, ‘It’s Only Natural’, and ‘the Great Apes’.However, the latter does have a catchy chorus and is Anthony’s pro-wildlife song. He wants apes to have their freedom rather than be locked up in a cage for people’s enjoyment at the zoo. I can understand that and, therefore, like the message conveyed.

At the halfway point, a track called ‘These are the Ways’ brings controversy depending on your side. The track goes after the current climate in America. Anthony’s vocals are reflective during the verses, but his anger comes through during the chorus, and he attacks the current environment. This is Chad Smith’s best drumming showpiece on the record.

The album’s second half shows off the instrumentalists, and Anthony takes more of a back seat. Aside from showing off the instrumentalists’ skills, the album lacks any real punch after the halfway point. Yes, there are catchy songs, but no songs that stand out. I did like ‘Veronica’, which changes tempo between the chorus and the verses and has a nice story to tell.

I am running out of where to end this review, but another track that stood out because of the concept was ‘the Heavy Wing, ‘ where John takes lead vocals and plays guitar. The record ends on a mellow note with ‘Tangelo’, which features acoustic and, surprisingly, synthesisers. Unfortunately, this album blends in with most of their previous records. 

I didn’t notice anything significant in their tracks. All Rick did was bring them back to what they sounded like in their glory years. Apart from that, it sounded like any other Chilis album.

Song recommendations: ‘Veronica’, ‘These are the Ways’, ‘the Heavy Wing’

6/10

Week 11: Rex Orange County- WHO CARES?

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I first came across Alex O’Connor, or Rex Orange County, while playing FIFA 18 and his song ‘Never Enough’. I liked it, but I was invested in setting up the squad, tactics, formation, and playing the game rather than paying attention to the songs. The next time I came across him on Later…with Jools Holland in autumn 2019. I only knew who he was once I heard his vocals. Why? Because on FIFA 18, I avoid looking at who the songs are by. If they sound good, I keep them, and if they sound shit, well… they go. I was impressed by his live performances of the songs and then sought out his live performances via YouTube. I was further impressed and added him to my gargantuan list of artists/bands I like. Apparently, in the 21st century, he is like Paul McCartney to the kids. It is a stretch, but there is no doubt that Rex is talented.




The first thing that struck me about Rex’s fourth album, “Who Cares?” was how short it was. Before listening, I saw that the total time was under 35 minutes. I have heard records this long, so songs can be uploaded for teasing videos to Tik-Tok, and therefore, get those watching to buy and download the stream. It is a clever marketing strategy, but an album should be an album to me. From what I witnessed, those who use TikTok usually have a short attention span. 


An album was designed to be a long play and hold your concentration. My highlight was ‘OPEN A WINDOW’ with Tyler the Creator.




The album is happy-go-lucky, as usual. Something Rex is known for. Of course, there are moments of swearing and some songs about his recent split, but overall, Rex remains. It isn’t necessarily bad, but maybe Rex needs to face adversity to bring out the all-rounder we know that is hidden within him.




Song recommendations: ‘OPEN A WINDOW’, ‘ONE IN A MILLION’, ‘THE SHADE’

Week 40: the Script- Tales from the Script

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I will do a track-by-track review of the Script’s first greatest hits album. I might add that I was disappointed that my favourite track, ‘the End Where I Begin’, wasn’t featured:

Breakeven:

This was their third single off the self-titled debut album and followed a specific song theme pattern. However, this track was more hard-hitting and spoke about one person from a former relationship “falling to pieces” and not wondering what to do while feeling choked up when the other seemed to be “okay” about the breakup. Danny O’Donoghue’s melancholic and heartfelt vocals deliver this song with conviction.

the Man Who Can’t be Moved:

The music video tied in brilliantly with the lyrics and the theme. Again, taken from the debut album, this track was the second single and depicts a man who will not move from the corner of the street until the woman he loves shows up and feels the same way. Indeed, the man in the song asks people to tell her where he is. This indicates a metaphor for being in a relationship. While it might be falling apart, the man will fight to show his heart is still in it. Again, Danny’s vocal delivery makes the song believable.

For the First Time:

This track would be the teaser for their second record, “Science & Faith”, released in the late summer of 2010. It stays within the songs off their debut album. Indeed, it might have been written back in 2007 when they went into the studio but wasn’t quite ready to feature on a record. The track is similar to ‘Breakeven’ again. It is aptly named because they fall back in love like it was for the first time. However, this time, there is still a relationship ongoing, albeit in a dire state, but both are willing to act like adults to make it work, which happens by the end of the track. Again, the lyrics are about fighting to save a relationship with lyrics like “Oh, these times are hard, yeah they’re making us crazy, don’t give up on me baby”.

Nothing:

The second single off, “Science & Faith”, ‘Nothing’ showcased Danny’s vocals with the ability to be a swooner and blend that with his forte of being heartbroken at the same time. The guitar riffs and the piano took you to a place where the Script had yet to achieve on their debut. 

Hall of Fame:

Taken from their 2012 and rightly named album “#3”, the band teamed up with Danny’s fellow mentor on the Voice and the Black-Eyed Peas member, Will.I.am. However, I am not a fan because, in general, I am not a fan of Will.I.am. He spoiled the latest Black-Eyed Peas album with that shitty software I can’t stand that alters your voice and makes it sound bloody awful rather than improving it. To think, Tupac was a fan of theirs back in the early 1990s. If Will weren’t on it, I would like it because, as usual, Danny’s singing and rapping are excellent.

If You Could See Me Now:

The third single from “3” is more about closure as the band discusses personal loss. Danny talks about losing his father on Valentine’s Day suddenly the previous year, and guitarist Mark Sheehan wanted the lyrics to include the loss of his mother after a long battle with a horrible illness a few months before Danny’s loss. Just listening to it, you could hear that the emotion was still raw and resonated with all of us when experiencing the feeling of losing someone close to us as well. A piano can be heard at the intro before Danny raps the opening verse. The tempo attracts your ear, and the lyrics make this a heartfelt song. The chorus is kind of catchy, albeit melancholic.

Superheroes:

The teaser for the 2014 album “No Sound without Silence”, Superheroes isn’t my bag, and I have never enjoyed the track.  It just didn’t have that get-and-go like their songs do. They just seemed too safe sonically. Lyrically? They are up there with their best.

Six Degrees of Separation:

The second single from “#3” is a masterpiece. It perfectly explains what we feel after breaking up with someone we fell deep for. Bizarrely, despite the topic, it is quite an uptempo ballad. The chorus is where Danny’s vocals spring to life as he delivers the details with raw emotion, and surprisingly, it is catchy for such a thought-provoking track.

Rain:

This would be the teaser for the record, taken from 2017’s “Freedom Child”. Again, another song of theirs I am not a fan of. I was impressed by Danny’s falsetto, but I don’t know. The track just didn’t fit at all.

Arms Open:

The second single from “Freedom Child” again is lyrically beautiful. The message is that it doesn’t matter if you are alone when dealing with something because there will always be someone to hug you through the bad times. I found the song to be a traditional song for the Script, and the stripped-back sound elevated Danny’s vocals while the listener could relax and feel at one with themselves. It is worth checking out the video where the band worked with the charity A Sense of Home, which helps children find homes who are too old to be in foster care.

the Last Time:

The teaser off their latest studio album, 2019’s “Sunsets & Full Moons”, was released in November, a few months before all this shit happened across the world. As the title suggests, it deals with one of the lovers feeling like they are seeing the other one “for the Last Time”. The band sure knows how to draw the listener in with the relevant topics and the catchy melody, and of course, Danny’s vocals make this another great track by the Script.

Run Through Walls:

It is the second single off the aforementioned album. Once again, it was a brilliant subject and lyrics by the band. Just read this from the chorus; “I’ve got friends that will run through walls, I’ve got friends that will fly once called when I’ve got nowhere left to go, and I need my heroes, I’ve got friends that will run through walls”. Have you read them? Catchy as fuck, wonderfully executed with falsetto vocals, and what a beautiful message about the real ones who have your back and who are not related to you. The first verse addresses how true friends have saved his life (Whoever that is, I am not sure of because the band share ideas, melodies, and lyrics together.), and the second verse, the death of his mother, is brought up, and how the real ones were there and helped him through it.

Before the Worst:

The final single off the self-titled debut album again shows Danny’s vocal ability. It is about a boyfriend trying to return to the point of the relationship where everything was right and they were happy. The lyrics are typical heart-wrenching verses and choruses by the band. I also felt it sounded (in the chorus at least.) melodically like Kate Bush’s ‘Running up that Hill(A Deal with God)’. Yes really. Pay close attention to Danny’s delivery next time.

We Cry:

The teaser off their debut album, and as you have already worked out, the single that started it all. It caught your ears back in 2007 because there was no band coming out of Ireland who mixed guitar music with rapping (Sorry if I have made a mistake there. I think the rapper Redzer might have done that. I am not sure at the time of writing.), and that was refreshing to hear. Now, at the time, I listened to this song unconsciously, and my interest came in when ‘the End Where I Begin’ was featured on a FIFA console game soundtrack. The track has many different characters talking about their struggles, from a teenage single mother to a drug addict, et cetera. Danny described the melancholic song as people who are all experiencing hardships coming to cry together and, therefore, sharing the burden. 

Science & Faith:

The title track off the 2011 album would be their last single. The song is up there as a fan favourite because it is a wonderfully composed love song. The lyrics are always the standout and why the band is well respected. It talks about finding “the one” and how, even though there are bumps along the way, you are destined to stay together until the end, which is quite a surprise from most tracks by the Script. I heard this song is written from Mark Sheehan’s point of view. Considering the song’s name, it all makes sense and falls into place. 

No Good in Goodbye:

The second single from the 2014 album “No Sound without Silence” made my ears prick up. I love the wordplay used in the chorus and the metaphors in the verses. Again, the band touches on heartbreak and how to overcome it. The chorus was melodically similar to Duran Duran’s ‘Ordinary World’.

Never Seen Anything “Quite Like You”:

A surprise on “Tales from the Script”. This is the first and only track not to be released as a single. It is taken from the 2014 record “No Sound without Silence”. Many may disagree with me, but I heard elements of Ben Folds Five and fellow Irish band the Corrs. I could imagine Sharon Corr playing the fiddle and Ben on the piano. This love ballad is upbeat, and you can imagine this being played on St Paddy’s Day with everyone clad in green, stamping their foot, and clapping in time with the beat. Even the Script can write upbeat songs once in a while.

I Want it All:

It’s the exclusive teaser for this very album. The song contains all the elements associated with the band, and as usual, the lyrics stand out and pull away at your heartstrings. The music is sad yet subtle and goes along slowly, which is appropriate for an album closer. Danny’s vocals are once again on point even after two years out, and of course, the current climate prevents the band from touring all of last year and some of this year. His voice hasn’t waned during that period, nor have the band gotten rusty or lost their edge. Expect this one to feature in their live shows coming up shortly.

Song recommendations: ‘No Good in Goodbye’, ‘Never Seen Anything “Quite Like You”‘, ‘Run Through Walls’

9/10

Week 37: Drake- Certified Lover Boy

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Well, last week, as you know, I reviewed Kanye West’s “Donda”, and as you know, I wasn’t all that impressed. I have no idea how long this review will be because I wasn’t impressed with Drake’s “Certified Lover Boy” either. Once again, Drake can’t help himself when utilising autotune. God, I despise that software. Like I have stressed on many occasions, if you can’t sing, don’t try to cheat with that software because you sound worse using it. Drake’s latest album had plenty of potential until some collaborators ruined it with autotune. Drake can go deep with his lyrics as he did on ‘Champagne Poetry’, ‘7am on Bridle Path’ and ‘the Remorse’. Those are the only tracks I liked with Drake on them and no pathetic autotune in sight. My favourite was ‘Yebba’s Heartbreak’ featuring, funnily enough, Yebba on vocals over a soft piano. I first saw Yebba Smith on Later…with Jools Holland in the autumn of 2019 on a Mark Ronson track. Mark has sung her praises for quite a while, and it was great to hear her on this record. It was my favourite because of her strong vocals, and Drake left her to it. It’s unusual for an artist/band’s album to only feature on some of their tracks. I can’t continue the review because the record bored me.

Song recommendations: ‘Yebba’s Heartbreak’, ‘Champagne Poetry’, ‘the Remorse’

3/10

Week 36: Kanye West- Donda

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In 2004, I bought an RnB compilation album called “Ice”, which also happened to have an artist I was yet to discover called Kanye West, and songs called ‘All Falls Down’ and ‘Jesus Walks’ complete with about three remixes of those said tracks. Back then, I liked his music and was interested in discovering more. Many feel it is offensive to rip off ‘Harder, Better, Faster, Stronger’ by Daft Punk off their iconic “Discovery” album. I didn’t mind Kanye’s sampling of it for his track ‘Stronger’, and I also enjoyed the track featured as the title track for the Saint’s Row the Third console game. The latter was in 2008; that was the last time I was interested in listening to his songs. 

In the previous decade, Hyde Park was beyond embarrassing. His music has been nothing short of cringeworthy since then. His woe-is-me act while wearing a diamond-studded Prada (I think) mask at the British Summer Time Festival was disgraceful. Yes, he came from a low-income family, but you don’t rant about that wearing such a mask. His hijacking of Beck’s award at the Grammys was also a joke. He wanted to protest about Taylor Swift winning an honour and stole what should have been an excellent moment for Beck Hansen. Luckily for him, Beck, although visibly stunned, found it funny and praised Kanye for his work.

So…”Donda” is an album everyone has been raving about and comparing it to Drake’s “CLB” (I forget what it stands for right at this moment.). I wouldn’t say I like Drake’s rapping anyway. He wants to use autotune; that winds me up big time. Now, “Donda” lasts for almost two hours over twenty-seven tracks. I was willing to listen, but there were only three tracks worth listening to. The rest is just autotuned bullshit. It’s a shame because he does have some pretty hard-hitting stories to tell, but all ruined by that shitty software, ‘Donda Chant’ is just not worth putting on a record. It lasted 52 seconds, with a female repeatedly saying “Donda”. The three tracks I did like were ‘Jail’, which is rock-inspired, ‘Heaven and Hell’ and ‘Keep My Spirit Alive’, which took me back to something that 2pac and Tha Outlawz Immortalz might have done during their peak in the 1990s. Apart from that, an album shrouded in hyperbole. Utter shit.

Song recommendations: ‘Keep My Spirit Alive’, ‘Heaven and Hell’, ‘Jail’

3/10

Week 31: Dave- We’re All Alone in This Together

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Another artist I saw on Later…with Jools Holland, but that caught my eye more than usual. Dave is a rapper and a spoken word artist, which is what I happen to do. These kinds of artists are rare to see on mainstream television, so I was delighted to see him on there. He and George the Poet have been the best-spoken word artists on the show of late. I was also very encouraged when Dave’s debut album hit the top spot because it meant that spoken word now had a platform for bigger and better things, rather than just medium-sized venues with modest audiences. 

Moreover, his debut album, PSYCHODRAMA, earned a Hyundai Mercury Prize in 2019—an incredible achievement for a spoken word artist. Could Dave better that this time around? That’s a hard act to follow. I am pleased to inform you that Dave didn’t fall under the immense pressure bestowed on him. This record isn’t just for those who understand the struggle; there is also a universal message. Dave often goes after the Conservative and Unionist Party and its current and former leaders. From immigration, racism, and the Windrush scandal. Indeed, Dave talks about being raised in London, proud of his Nigerian roots, and paying homage to his ancestors. I love how Dave is fearless in addressing the history of Britain that is seldom spoken about in schools. It is a shame it isn’t because it isn’t as pretty as Dave paints for you on the album. Indeed, he does a track with Stormzy where they call out the state of Britain since leaving the European Union and the failings of the current government. They also have “Jeremy Corbyn won” in the chorus, supporting the former Labour Party leader and making it clear that he would have been the better choice in their opinion.

‘In the Fire’ features Giggs and Ghetts over a gospel beat. He then talks about the Windrush generation on ‘Three Rivers’ and how they are now being mistreated by the country that they have contributed heavily to and done a lot of good for Britain but are currently being treated like shit due to racism peddled in the right-wing press. However, my favourite is the longest track on the album, ‘Heart Attack’. Dave addresses knife crime, racism, and how the metropolitan police profile certain people. 

Indeed, Dave says Scarface and its lead character Tony Montana are praised because he is white. Still, when it comes to a black individual depicting a similar role in a film, the press says how appalling it is and glorifies violence. I loved this outlook by the man known as Santan Dave, and unfortunately, it is true. It is always films with black individuals that get the bad press. Indeed, this is reflected in the aftermath of Marcus Rashford, Jadon Sancho, and Bukayo Saka missing penalties for England in the recent European Championship final against Italy. All three were racially abused and received death threats for being human. To my horror, I saw an online poster calling for all white people to “Attack a Black” the following day. It was worse than that, but you don’t need to be a genius to work out what the poster said. There was a points system as well for the forms of attack. It is fucking abhorrent that this shit still goes on and that after a specific referendum in 2016, it has emboldened racists to now do it with minor consequences. Just look at the fucking right-wing twats who are currently on television. It is disgusting. We all live under the same sky and should try to get along with each other regardless of our skin colour or religion.

Dave closes the record on a reflective note about how he has let himself and others down with his past behaviour on ‘Survivor’s Guilt’. Dave acknowledges that the press has highlighted his actions outwith his music and that he will learn from his past mistakes and become a better role model and better to Black women. This album is brilliant, and I loved how he didn’t hold back over several issues that need a light shone upon them. Look for “We’re All Alone in This Together” among the Hyundai Mercury Prize 2021 nominees. This is better than PSYCHODRAMA.

Song recommendations: ‘Heart Attack’, ‘Three Rivers’, ‘Survivor’s Guilt’

9/10