Words cannot express my disappointment. “Brat” had immense potential with its blend of genres, but it ultimately fell flat due to the overwhelming use of autotune. The sole exception was ‘Club Classics’, the only track I genuinely liked. Sadly, the rest of the album is overshadowed by this stylistic choice.
Song recommendations: ‘Club Classics’
No rating
Let’s dive straight into the track-by-track review:
intro (end of the world):
This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.
bye:
From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”
don’t wanna break up again:
Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.
Saturn Returns Interlude:
Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.
eternal sunshine:
We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.
supernatural:
Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.
true story:
She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.
the boy is mine:
Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.
yes, and? :
This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.
we can’t be friends (wait for your love):
As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.
i wish i hated you:
There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him.
imperfect for you:
This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.
ordinary things (ft Nonna):
As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on.
Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’
8/10
What is this? Like my third review of a Kylie album? I’ve lost track. My most recent review of hers was ‘Disco’, which came out amid one of the lockdowns, and the music within made you yearn to return to the dance floor, be it at clubs, wedding receptions, bars or parties. I also enjoyed listening to it and found it the perfect tonic to escape the drab reality we were all subjected to. However, it could have gone better with the younger generation, which could mean that with streaming services widely available, they can steer clear of radio and television music channels and avoid going to shops to listen. Therefore, they can choose who they want to listen to and become trapped in that mindset. I grew up on everything mentioned in the previous sentence, so my taste has become eclectic. Listening to the radio and watching Later…with Jools Holland gave me an open mind to music. I don’t believe that on these streaming services, the algorithm would recommend Kylie Minogue to a youngster listening to BTS, so therefore, you can see why Kylie hasn’t been as popular with the younger generation (yet.)
I first heard ‘Padam Padam’ on the Graham Norton Show (I think.), which was four months ago when the track was released, and it is still as popular now as it was then. The younger generation will certainly know this one, as the staff of Hobbycraft did a dance for it on TikTok. What is refreshing about the track is that it is uplifting, fun and humourous.
The record is reminiscent of the Europop/Eurodance you would hear on Euro Trash. It may be cheesy, but it is fucking fun and uplifting. We all need to lighten up once in a while. The title track flirts with Kylie going for the Daft Punk approach of using robotic vocals; the saxophone swoons on ‘You Still Get Me High’ and ‘Vegas High’, which have that Europop sound. ‘Hands’ reminded me of Madonna’s ‘Vogue’—especially the rapping verses.
There is no way in hell that “Tension” is nothing more than to promote her upcoming Las Vegas residence shows; I am not having it. It is far too professional just to be regarded as a throwaway. It is Kylie at her best, touching on all sorts of emotions, and it deserves its number-one placing. I do not believe “Tension” got there by sales alone; I reckon that the younger generation heard ‘Padam Padam’, streamed her, and fell in love with the music. The TikTok video would have also drawn their attention. I also love the cover art. Nice and vibrant
Song recommendations: ‘Hands’. ‘Vegas High’, ‘Padam Padam’
8/10
Remember how good RnB was in the 90s when you had Mary Mary, TLC, En Vogue and Destiny’s Child? Beyonce was in the latter before deciding to go solo in the mid to late 2000s. This is a shame because Destiny’s Child was a fantastic RnB group. However, since going solo, she has spawned hits such as ‘Crazy in Love’, ‘Irreplaceable’, ‘Run the World(Girls)’, ‘Blow’, ‘Single Ladies’, ‘Halo’, and what I find an insult to Tupac ‘Me and My Girlfriend(Bonnie and Clyde 96)’ with her husband Jay Z who once felt the wrath of Pac on ‘Bomb First’.
So, I was astonished when I heard the album because I was expecting the same old shit that she usually churns out, but this was to my liking.
Incredibly, I liked ‘Cozy’ and ‘Alien Superstar’ songs for their club beats and blunt lyrics. Beware, there are plenty of expletives on this record. I will let this review flow if I am honest. It won’t be that great or long, either. ‘Cuff it’ is out of the funk genre, and ‘Break My Soul’ reminds me of dance music I heard in the 90s. ‘Church Girl’ is a bit weird. It’s RnB, but there is a hint of Drum n Bass in there at a slow tempo, ‘Plastic off the Sofa ‘ is neo-soul, and ‘Virgo’s Groove’ is something I could see Jamiroquai doing. If I did a deaf ear test before hearing it without Beyonce’s vocals, I’d easily mistaken it for them. ‘Pure/Honey’ sounds like the kind of deep house track that Disclosure produces, and ‘Summer Renaissance’ is 80s house. There are plenty of samples from songs by Donna Summer and many more. There is one where she uses an iconic house track, but I cannot remember who it is by. Funnily enough, the track in question is on my music laptop. It certainly is not an album for kids under 10 to listen to. Oh, I just remembered. The track is called ‘Miss Honey’.
Song recommendations: ‘Summer Renaissance’, ‘Virgo’s Groove’, ‘Break My Soul’
8/10
Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades.
But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.
So, how was the concept of this record born? Elton wanted to do more than play family games and watch television, which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.
I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is.
Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.
I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.
If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would have probably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist Robert Trujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’.
Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm.
The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.
The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am going to sum up the following shortly and sweetly:
‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.
‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song, making it spiritual.
‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t Go Breaking My Heart’ talking about their relationship through those 45 years.
‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimagining of his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.
My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.
Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’
8/10
My introduction to Coldplay was the year of their debut album “Parachutes” at the start of the millennium. It wasn’t ‘Shivers’ I heard either, but instead their classic song ‘Yellow’. While on a break in the common room at sixth form college, I remember hearing it on Radio 1; I think that was the station, and the DJ was Chris Moyles. I loved the idea of someone ready to do all crazy things to prove their love to another. Not to mention the instrumentation itself. Later that day, I went home to do some coursework and download songs through Napster (Remember that?), and of course, ‘Yellow’ was one of the tracks.
“Parachutes” was a tremendous debut album, and everyone thought they would follow in the footsteps of Oasis, but the band had other ideas from the second record onwards. Indeed, Chris Martin said the band was created in the same image as his idols, U2. U2 upset many people when they changed from punk to make music to appeal to a broader audience.
However, unlike U2, Coldplay is the marmite of music. You know where I am going with this, so there is no need to explain further. Some idiots follow like sheep and believe it is “edgy” and “cool” not to like Coldplay, whereas some simply do not like their music because they changed dramatically after “Parachutes”. I do not care what music they make because I enjoy it regardless and respect their creativity. I have been slaughtered for liking the band. So why do they have such a vast fanbase if many hate them? Well, it all boils down to their live shows. There is something magical about seeing them live. Like U2, they can have the audience in their palm at any stadium and are frequent headliners at signature festivals. Regarding live performances, Coldplay is the second most significant band in the world behind U2.
However, when becoming a considerable stage presence, frontman Chris Martin might have lost his edge to write songs in the studio. Their last album was 2019’s “Everyday Life”, which, in the many accolades the band have received, was a massive disappointment as it was their first album in 20 years not to go multi-platinum. It didn’t fare too well in America, neither where the band are top-rated. “Everyday Life” didn’t get close to the sales made by 2015’s “A Head Full of Dreams”, which featured the likes of Beyoncé, Tove Lo, and their good friend Noel Gallagher (I recommend watching the film of the making of the album, and the tour.) I am not sure why the previous record didn’t do well. Maybe people didn’t like the concept of the band experimenting with African and Gospel. That’s what the band are about, though. Experimentation.
The band didn’t run away after the disappointment of “Everyday Life”. Its poor reception has motivated them to return more robust and show people that they are keeping their standards from slipping after 20 years at the top. Coldplay is still played on Radio One during the pop-friendly daytime, unlike most of their counterparts who have been consigned to Radio Two as their music isn’t “hip enough”.
To make their presence known, the lead single ‘Higher Power’, which is a track that is the Weeknd-esque with the electronic 80s theme, was premiered in the Mercedes advert to promote their new electric car after Chris had stated the previous year that Coldplay would not be releasing anything until 2022. It took many by surprise; some said that Chris was a hypocrite for saying such a statement and using it in the advert for Mercedes. It also boomed out in the International Space Station. So from there, only a few expected a new album by the band, going by Chris’ comments. Even though ‘Higher Power’ was released, many still expected that to be the sole material released until next year.
The collaborators of the previous record were not acquired for “Music of the Spheres”. Coldplay got Max Martin on board to produce the album and gave him complete control. Max brought in the likes of Selena Gomez and the extremely popular K-pop boyband Bangtan Boys, aka BTS. I also like that London’s Jacob Collier was also acquired. I can imagine the criticism they will get for working with BTS, but Coldplay has always known that the best way to garner new fans and appeal to a broader audience is to remain relevant in the pop charts. Who knows, maybe some BTS fans have been turned onto Coldplay through the collaboration. That is what the band are aiming for. Remember that most music is now streamed via Spotify, so that the streaming hits will propel the band even further.
This is familiar for the band in that they have made tracks like ‘A Sky Full of Stars’ and their 2015 album ‘A Head Full of Dreams’ while featuring guitars was centred around electronica. On “Music of the Spheres”, I noticed that the synths feature prominently and are the loudest instruments. On a side note, some songs do not have names but are represented by emoticons or, as the youngsters call them, “emojis”. You need to go to Wikipedia to have a rough idea of what they are called. For example, the title track is stylised as an emoji of Saturn. Who would know that that planet represented the title track’s name? I know the band has used emojis as the names of songs before, but although it is unique and fun, it could be clearer at the same time to decipher the name. The track featuring BTS shows their dynamic ability and blends into the K-pop scene. Of course, there are also moments of what we know the band to be on tracks like ‘Humankind’ with an element of Van Halen’s ‘Jump’ or Huey Lewis and the News ‘Power of Love’. ‘People of the Pride’ sees the band again flirt with Experimentation as they try to sound like Muse. However, this time, Coldplay appear to be out of place.
What annoyed me about the record is that there are many instrumental tracks that I have classed many times on previous reviews as simply throwaway tracks that shouldn’t feature on albums. The record does drag somewhat, and it is a welcomed relief when the ballads arrive. My favourite, of course, was ‘Human Heart’ or rather just a heart emoji featuring the highly talented multi-instrumentalist/producer Jacob Collier, who always uses his falsetto range. Now, I usually detest that piece of shit known as auto-tune, but it is used correctly to give Chris a Bon Iver effect on his vocals this time. Yes, Bon Iver’s Justin Vernon is the only artist I can think of who uses auto-tune to better his vocals. I can’t believe I am saying this, but ‘Human Heart’ is one of my favourites off the record because it sounds like a Bon Iver track.
The obscurely named ‘Biutyful’ (From what I got from listening, it is pronounced “Beautiful”) sees the band try their hand at K-pop without the help of BTS. It works and has a beautiful melody. One wonders what the song’s original concept would be and why they decided to take a leap of faith in K-pop. The theme of the record is centred around the Universe. Indeed, the subtitle is “Volume 1. From Earth with Love”, which fits in with the humanitarian ways of Chris Martin. Chris is all about saving the planet. The album closes with ‘Coloratura’, which is far removed from most of the sound on the record.
This 10-minute and 17-second track is your typical Coldplay anthem that rings out in the large stadia they perform in. The song includes strings during the instrumental breaks and synths that sometimes stand alone. The record itself is…well, a bit mental. There is no structure evident (If there is, fuck knows where.), and it reminds me of an album called “the River” released by Pink Floyd during the last decade. That record also needed an actual structure in place.
However, I did enjoy “Music of the Spheres”, but it appears the band has rushed this rather than taken their time to make the album more structured. You go from an instrumental into a track, then a ballad, then a track that can’t make up its mind, whether instrumental or vocal. This is where Coldplay have fallen, in my opinion, on this album.
Song recommendations: ‘Human Heart’, ‘Biutyful’, ‘Humankind’
7/10
The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:
Everybody’s on the Run:
Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridge reminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.
the Death of You and Me:
The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.
AKA…What a Life!:
The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.
if I Had a Gun…:
This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will (and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.
in the Heat of the Moment:
Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.
Riverman:
The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.
Lock All the Doors:
It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey.
the Dying of the Light:
It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.
Ballad of the Mighty I:
The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.
We’re on Our Way Now:
An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongside ex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.
Black Star Dancing:
I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.
Holy Mountain:
So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.
A Dream is All I Need to Get by:
I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.
This is the Place:
The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.
It’s a Beautiful World:
It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).
Blue Moon Rising:
No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as the veins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.
Dead in the Water(Live Rté 2FM Studios, Dublin 2015):
Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.
Flying on the Ground:
Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.
Song Recommendations: This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’
9/10
When you listen to any of her music, you know you will get entire honesty as she is not afraid to reveal each layer of her life. The same can be said for this album, as she is talking so openly about her sex life. It’s hard to believe she would do it when you consider she’s a Judy Garland fan and her past in children’s television shows.
I mean, she even had the fucking audacity to name a track after a particular area in the vagina, so everything is revealed, and she is not giving you a chance to use your imagination. It’s refreshing to see a modern-day R&B artist opting for a production from the 1990s R&B scene. Some tracks sound like the UK Garage scene from the early 2000s, and some remind me of house with that iconic piano.
She is fucking nuts; she even has a song called “My Hair”, which is all about her ponytail, which has somehow managed to get as famous as her. My favourite is “Motives”, featuring the talented singer/rapper Doja Cat. Although the record is highly sexually forward, there are moments where Ariana stops being playful and goes much deeper into her soul with tracks like “Off the Table”, “POV”, and “Safety Net”. I wonder where her next album is going, as we know so much about her sex life after listening.
Song recommendations: “Motives”, “Safety Net”, “Off the Table”.
7/10
Now, I haven’t been that keen on Lady Gaga ever since “Poker Face”, “Bad Romance”, “Born This Way”, and “Alejandro”, which are considered the best of her songs. Oh, and that one featured in that “A Star is Born” film. I changed my mind about the 21st-century Madonna after hearing her duet with the great Tony Bennett. After hearing that, it showed me that she was more than just a generic yet eccentric pop star. She did shine for me on those recordings and gained some of my respect.
Indeed, she is versatile in her fashion and music and has probably outperformed her predecessor, Madonna, in the art of shock. Remember that Gaga has been inside an egg down the red carpet and worn a dress made entirely of beef. She has done jazz, as I mentioned, with the great Tony Bennett, which, for me, was the turning point in bringing her music to those who can’t stand generic pop and appealing to a much more mature audience. She made a country-themed album which is entirely about her auntie, who died before she was born, and then she branched out into film, where she did the soundtrack and was the lead role in 2018’s “A Star is Born”. Some may compare her to being similar to the late David Bowie, but although I agree, I still stand by my stance of her being a Madonna for the new millennium.
Some critics have said that “Chromatica” is her return to form and is more in line with her pop music, but I will have to disagree with them as I found the record was laced with 1990s house. While making notes for her sixth album, this is what I discovered:
Three short songs make up “Chromatica”, just stringed instrumentals resembling something you hear at the Albert Hall in London during the Proms, so basically classical, but certainly ideal for the big screen and the big classical music halls. Some have described ” Alice ” as disco, but I wholly disagree. This ode to Alice in Wonderland is very much house from the 1990s. One critic described it as her take on garage, which left me entirely surprised.
“Stupid Love” is your typical Lady Gaga song and sounds like “Born This Way.” “Rain on Me”, which features former teenage actress Ariana Grande, sounds like the sort of track that Mylo or Diplo would produce. “Free Woman” sent me right back to those 1990 raves (Although for me, it was more raving at School discos, parties and youth clubs.) with its substantial house bound production. “Plastic Doll” seems to be a warning to any male who wants to mess her about and treat her like shit, “Sour Candy” features Blackpink, which is aptly named and yet another track inspired by house.
“Enigma” is house with its classic piano riff and very soulful vocals and is perfect for when the clubs eventually open their doors again, “Replay” uses a sample from a Calvin Harris hit of which I can’t remember the name (It goes, “ooh, ooh ooh, ooh ooh, ooh, ooh” if that helps?) “1000 Doves” is yet another track that takes inspiration from the 1990s club scene with a piano wrapped around dance beats and electronic drums. You may wonder why I haven’t included the song with Elton John. The reason for that is that, disappointingly, Elton opts for autotune rather than using his natural vocal ability. The final song I will touch on, which closes the album, is the Madonna-esque “Babylon”, which, to me, is the 21st-century version of “Vogue”, with Lady Gaga even using spoken word like Madonna did on her 1990s hit. It even has that classic piano riff from “Vogue.” the only thing that doesn’t feature is the strings, but unlike Madonna’s song, Gaga’s has a beautiful saxophone solo.
Recommendations: “Alice”, “Free Woman”, “Sour Candy”, “Enigma”, “1000 Doves”, “Babylon”.
9/10
Honest Opinions 