Unless you have been living under a rock, you will know that Taylor Swift was being held to ransom by Scooter Braun over her original masters for her past albums. To combat this, Taylor has decided to re-record the records, which are more enhanced versions of the original albums; over her years of experience as an artist, “Red (Taylor’s Version) is the second instalment of the re-worked records. Initially, the album was released in 2012.
Now, you would have thought that the interest from her fans or just generic listeners of hers wouldn’t bother listening to or buying an album they already have, but no, you would be wrong. I didn’t listen to the original record, but I did listen to a fair chunk of the songs through going shopping, listening to the radio, or watching television. The songs are far more enhanced now and better for it. Her vocals are more mature and softer. In the originals, Taylor sounds raw and angry. On these re-works so far, she has been far calmer. The production and the featured artists show that Taylor is savvier than she was as a youngster.
The immense excitement generated for this album’s release was the 10-minute version (That closes the record.) of ‘All too Well’. Her fans have known it, but the track was unreleased until this album came out. The song is about her brief relationship with actor Jake Gyllenhaal, which led to a heartbreaking split in 2010. The record also opens with the original shorter version of the same song, albeit more enhanced.
Unlike the original, the extended version includes anecdotes about how the breakup ruined her 21st birthday, and she scathes at the age difference between them. Taylor asks Jake if the split also hurts as the track fades out with haunting layered vocals. The track didn’t make me cry, but that might not happen with you. It is quite a challenging listen, but as mentioned before, Taylor remains measured with her vocals rather than spitting venom.
Of course, an added incentive to buy these reworks is the “From the Vault” tracks. Of course, as mentioned in my review earlier in the year, these songs are album tracks from those sessions. These sessions would include ‘All too Well (Extended Version)’, ‘I Bet You Think About Me’, ‘Run’ featuring Ed Sheeran, ‘Nothing New’ with Phoebe Bridgers and many others.
I enjoyed the refined version of ‘I Knew You Were Trouble’. It sounded familiar, but yet an entirely different track from the original. The production is more sophisticated, so any distortion has been cancelled out. I remember hearing this soft Dubstep track with a tinge of distortion, or maybe that’s just me. There are even tracks such as ‘Stay Stay Stay’ and ‘the Last Time’ featuring Snow Patrol’s Gary Lightbody that tended to be overlooked and have been given a new lease of life on this version, with Taylor taking it back to her country roots.
I will have to concede that this version of “Red” is far superior to the original because Taylor’s vocals are more refined and measured, plus the production is crispier. Taylor’s confidence has grown over the years of being an artist, and this re-work certainly shows it.
Song recommendations: ‘the Last Time’, ‘I Knew You Were Trouble’, ‘Everything Has Changed’
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 bandand 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 ifAlex 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 soundedlike 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 goingto 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’
That’s more like it. Some music I can tolerate and enjoy listening to. None of this autotune bollocks. Manic Street Preachers, who isn’t a fan? I have enjoyed listening to this band since 1996 (Yes, I was a bit late to the party. Coming along after ‘A Design for Life’.)However, I have enjoyed many of their songs from the beginning to the present day and have seen them perform live on a few occasions and several times via YouTube. I have watched plenty of documentaries on themand, of course, the curious case of the missing ex-lead guitarist and ex-chief songwriter Richey Edwards. The Manics, known affectionately by their loyal fanbase, have evolved from full-on punk to indie pop-friendly hits to just being part of the music industry furniture. The band has been around since 1986 and has never shied away from political matters. Indeed, many of their songs involve some political message, and the 2014 album “Futurology” expressed this while being more ambitious with their songwriting, now led by bassist Nicky Wire.
There is a particular song off the record that I will describe as “delicious” with its message shortly. You could say that the Manics have got more political yet ambitious over the most recent records, and this album doesn’tstray too far from that path. Of course, their most recent record, 2018’s “Resistance is Futile”, gave Nicky Wire plenty of ammo to use regarding current affairs, so Nicky was never short of ideas on what to talk about. However, while “the Ultra Vivid Lament” is politically charged, Nicky reflects in tracks like the opener, ‘Snowing in Sapporo’, and even the fast-paced, ‘the Secret He Had Missed’ has a sprinkle of melancholy. When you listen to the second disc full of demos and one’s with just Nicky’s vocals and an acoustic guitar, you get a real sense of how melancholic andreflective the album is. I also noticed that most of the tracks feature an acoustic guitar, which Ifound quite surprising for the band. One of the latter tracks featured Julia Cummings and is what I would describe as a typical Manics track with its full-on rock and James Dean Bradfield’s in-your-face vocals.
The band have taken it back to their youthand has taken inspiration from the music they used to listen to. Particularly in the 1980s, which is evident in ‘Quest for Ancient Colour’. The first thing that caught my ear was how it sounded like a Simple Minds track, and I thought it might remain like that. Of course, Manics added their originality to it as well. My standout, though (As mentioned earlier without the title.), is the brilliant ‘Orwellian’. It describes perfectly the shitstorm we are all caught up in at the moment, which of course, the great late George Orwell said would happen as the years went by. I also love the attack on the useless prime minister and the current government. Once again, a particular party is never too far away from the sighter on the Manics sniper. I also recommend listening to the second disc.
Particularly Nicky’s version of ‘Don’t Let the Night Divide us’. Although Nicky’s vocals could be better, the message and delivery bring home the message. I have seen many pan this album saying that the Manics should give upand tour their back catalogue, but I am not on board with that opinion at all. I liked the record, and I don’t care if there is an element of the kind of songs Blossoms make (Because there is.), so shoegaze pop. It deserves to be their first number-one album for 23 years, which is remarkable when you consider just how strong their lyrical content and sound are. Indeed, it is an injustice not to have scored a top spot since the brilliant and very much still relevant “This is My Truth Tell Me Yours”. They were right. If we tolerated it, then our children would be next, and that is sadly looking more like the case now.
Song recommendations: ‘Orwellian’, ‘the Secret He Had Missed’, ‘Don’t Let the Night Divide us(Nicky Wire Home Demo)’
Oh, dear. I am about to piss off many a fan of Inhaler by mentioning the old cliché that lead vocalist Elijah Hewson is the son of U2 frontman Bono. Many fans hate this tired cliché of Inhaler being roped in with U2, but unfortunately, that’s the way it is. I first heard the Dublin outfit after seeing their name in a festival flyer I discovered on the festival wizard (Fucking brilliant little website!). I already knew their background but hadn’t given them a listen so far. The set was only about eight songs, but I was left impressed, and yes, just like this album, I could hear thecomparison in the father and son vocals. Eli also looks a bit like his dad during the early years of U2. I would have described their set at that festival as ‘shoe gaze’, but this record surprised me because I could hear a more rock sound and, once again, drew comparisons to U2. In some of the tracks, you can hear the influence of U2 with the topics, bassline, obviously the vocals, and Edge’s riffs.
Inhaler has been making headway since they supported the likes of Noel Gallagher’s High Flying Birds. Despite the obvious connections and being signed shortly after forming, thisdebut effort has more than justified their position in the industry. I tend to frown upon this, but the band has shown that they should be taken seriously. The album starts with the title track, and from there, I was willing to give them a chance to provethey are worthy of their status. The album remains on that level as it progresses. I especially liked‘My Honest Face’ and ‘My King Will be Kind’. I loved the Indie rock sound to it. Of course, they go back to their usual shoe gaze momentarily, but it doesn’t suit the overall sonics of the record. Still, though, it was a good effort for a debut, and I enjoyed most of it.
Momentarily, I did start to wander. I mean, it’s not the best album I’ve heard this year, but it is up there. At the moment, it’s the Snuts.
Song recommendations: ‘My King Will be Kind’, ‘My Honest Face’, ‘It Won’t Always be Like This’
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 bridgereminds 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 alongsideex-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 theveins 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’
I have waited ages to listen to and review another Paul Weller album. I was delighted to have found out that he worked on it during the original lockdown. Paul told Charlatan’s Tim Burgess that he was bored and needed something to do. He also told Tim this might be his final album (let us hope not.). It’s great that some artists took the opportunity to be productive while isolated last year. Funnily enough, just as he started work on this one, his previous record, “on Sunset,” was not far from being released. The album begins with ‘Cosmic Fringes’ which sounds like electro-pop straight out of the 80s. You know, bands like Roxy Music, Heaven 17, or the Human League would have done. The end catches you by surprise because it stops without any warning. That sudden ending would last until the third track. From then on, the tracks would fade out.
‘Glad Times’ was like Paul went into a time machine and returned to the studio with the Style Council, and ‘Testify’ is a blues and gospel track with flutes. ‘Cobweb Connections’ is a sublimeacoustic song, and ‘Moving Canvas’ is like hearing Paul playing songs from the “Stanley Road” era. I didn’t find much Jam-inspired music in there, though.
The album is just a mix of several genres; younever know which way Paul will take you with it, which will keep your ears entertained. It’s great when a record is made that way. You don’t want a predictable album; you want something that will surprise and differ from the track you just heard to keep your interest. The cover and the name certainly had me fooled. I was expecting an album full of cosmic pop or psychedelic. Even the title “Fat Pop (Volume 1)” screams that the record will be focused on those two genres. It’s more like a trip down memory lane with influences from the Style Council, the Paul Weller Movement, and everything after 1992. As I said earlier, I didn’t notice anything the Jam might have done. It also has Volume 1 at the end of the title. I would like to know what volume 2 will be like.
Now, as I said earlier, the album is spontaneous and will keep your ear, but at the same time, if you do not find that concept interesting, you might lose interest as it might start to annoy you.Personally, that’s on you because it didn’t annoy me in the slightest. I loved the way the record was spontaneous. If you enjoy dipping your fries into your Strawberry milkshake (Thanks, Siân. Watch this space on her. She might well be presenting a radio show soon, and trust me. Her taste in music is eclectic.), then you will enjoy how this album works. Many may argue that the tracks on “Fat Pop (Volume 1)” simply do not work without structure due to its spontaneous nature. Well…I liked it, and it’sentirely different from a Paul Weller LP.
Despite how the album is structured, either to your satisfaction or not, there is no denying that Paul still has that fire burning to be creative after a 44-year career. One minute, Paulis in the 60s playing with the Rolling Stones, and the next, he’s back in the Style Council with songs like ‘Glad Times’. That is how Paul approached every session with spontaneous songwriting. It certainly makes for an exciting experience when you listen all the way through for the first time. You cannot knock it because Paul Weller is far from finished with business despite what he told Tim. How many albums are there left in him creatively? Who fucking knows. Going by this, he still has plenty more on the way. The only thing stopping Paul is if he decides to retire of his own accord.
Song recommendations: ‘Glad Times’, ‘Cosmic Fringes’, ‘Testify’
This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound.
Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines,among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.
The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix(Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night).
Tony Hoffertravelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a moreprofessional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.
‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.
I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen toit now. However, I like a good story in my songs, and this one is no exception.
Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of anautobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhatblurred)and having hopes and dreams of making it big withtheir music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.
It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.
Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”
My first introduction to the band from America was in 2009 when “Sex on Fire” was heard in pretty much every nightlife establishment you went into. Indeed, my friends and I sang it at the top of our voices and even changed the words to go with an ex-Newcastle United footballer. I’m sure others sang it that way before us. The old “Yourrrr Temuri Ketsbaia”. Now, Kings of Leon are very much like Bush. Why? Because they are popular everywhere else except in their native land. Bush is from London, but their Grunge sound never stood a chance when Oasis and all the other Indie bands came along. Because people over here were not so much into listening to Soundgarden and Nirvana at that point, the same could be said of Kings of Leon. When they came along, America wasn’t interested in listening to a band whose sound was more attractive to the European market. Unlike the Killers, whose sound was very much inspired by Oasis and the Smiths when they first started to make inroads and gradually started to win over fans from their homeland, America never took to Kings of Leon, and as far as I know, that is still the case. I am in the minority regarding the band in Europe because I am not a fan. I liked “Sex on Fire”, but that’s it for me.
I am going to quote my friend Tommy about Kings of Leon. I told him I listened to the new album and told him to listen because he would be surprised by some of the songs. He told me he would make a conscious effort to listen to it because the band are no longer kids anymore and is more mature. Now, I concur. When you listen to the lyrics, you can hear their maturity. They’re no longer singing about getting drunk and living that wild life.
The opening track is the title track, but the title is slightly different from the name of the record. It’s called “When You See Yourself, Are You Far Away.” immediately upon listening, the track got my attention because of the Jaws-like sound to it (Jaws the band, by the way.), you can also hear an electric guitar plucked throughout, which sits nicely rhythmically, and a xylophone, which I would never have associated with the band using. I then highlighted “100,000 People” to Tommy because it’s a slow plodder with a dreamy chorus that sounded Indie, and then a synthesiser that you would associate with the Killers, so you can imagine Brandon Flowers being all over it. Then, there is the “Golden Restless Age” because it sounds like the War on Drugs. Apart from that, the rest of the album sounds like Kings of Leon with more grown-up subjects. However, those three tracks I mentioned to Tommy caught my attention, and for those fleeting moments, I enjoyed listening to the band.
Because of those three tracksand the departure from talking about sex and whiskey all the time, there is something to look forward to in the future from the band. They have shown that they are ready to tackle more sobering issues and are willing to dabble with the sound. If the band makes something entirely out of the ordinary next time, they show they aim to be around for another decade. Who knows, they might get America on board and remove the stigma of “They’re a band for the Europeans with their Indie Rock.
Song recommendations: “Golden Restless Age”, “When You See Yourself, Are You Far Away”, “100,000 People”
Here is my track-by-track review of her 9th studio album and her second album release of the current year:
Willow:
This isn’t just the opening track of the album, but it is also the leading single. This is Taylor returning to her roots when she was gigging constantly across America to get herself noticed within the industry by basing herself on country music. It’s a bizarre choice as a single, as it hasn’t any of those typical pop traits to chart that high. It is pure country with its delicately plucked acoustic guitar. Her vocal delivery synchronises with the subject of being in love with someone, and you’re trying to make them feel the same way. Taylor expresses this by how we would feel in those moments. From feeling high and excited to feeling low and being unable to breathe from the panic that they don’t love you. There are also some deep lyrics within, so listen carefully.
Champagne Problems:
This piano ballad was written with her boyfriend, who uses the alias William Bowery (Of course, his real name is Joe Alwyn.). Is the subject matter supposed to be about their current relationship? Rather than about a couple in college who share very different views about a night where one wants to break up and the other wants to propose. I don’t know how happy they are, but I can’t see them dropping hints while writing a song together. I also learned that “Champagne Problems” is a phrase (I guess only in America.) that means when an individual’s troubles are genuine but, when put into perspective, are less important than how much others are suffering. Like with “Folklore”, Taylor touches on the very fragile subject of mental health. In this song, the female character mentions her problems with mental health and how the break up of her relationship has further impacted it. I am going to quote some compelling lyrics taken from the male character in this, as he is the one who has been left heartbroken. “Sometimes you just don’t know the answer til someone’s on their knees and asks you; she would have made such a lovely bride, what a shame she’s fucked in the head, they said, but you’ll find the real thing instead”. As you can see, the song is very emotional.
Gold Rush:
Wasn’t this also a song on “Folklore”? I can’t remember, but someone will tell me when they visit my archives this year. Bizarrely, the producer of this track only features once on the record when you consider Jack Antonoff has produced half of her songs over the past three albums. This song is more chart-friendly compared to the previous tracks on the record. This time, the leading character starts falling for someone popular among several others. Unfortunately for the leading female character, the other women chases the man in question. Still, just like the leading female, they are also looking for gold in California, which, when you think about it, makes the title make sense. The leading character becomes jealous and longing to have him, and she decides she can no longer chase him because she has no fight left in her and feels it is futile. Again, some lyrics stood out for me, and they are intense by the lead character. “At dinner parties, I call you out on your contrarian shit, and the coastal town we wandered round had never seen a love as pure as it, and then it fades into the grey of my day-old tea, cause it could never be”.
Tis the Damn Season:
What I found about Taylor’s songwriting is she can tell fables about fictional characters based on actual events or fables about her own life experiences. It is challenging to do the former, as you must design the characters and build the fable around them, but Taylor does this effortlessly. Once again, on this album, she has devised a character from Tupelo, Mississippi, who is leaving her town to achieve her dreams in Hollywood on the big screen. You may be wondering where the Christmas element comes into it. The lead character returns home to enjoy the festivities, where she stumbles across an ex-lover. As one of the lyrics depicts over this electric guitar track, she says how she is breaking her own heart by returning to Los Angeles, where everyone she meets is superficial, including the way she smiles, rather than remaining in Tupelo to get back with her ex-lover and feel loved and happy once more.
Tolerate it:
There appears to be a trend with Taylor and the obsession with the fifth track; the fifth track always seems to be a ballad with a heart-wrenching confession. “Evermore” doesn’t buck the trend. Again, the song is seen from the female perspective. She is sick and tired of devoting her life to her lover, and she is not getting much compassion or any form of emotional connection in return, so she is starting to hate and resent him for that. She has tolerated this behaviour for far too long from him, and now she is ready to confront him. This track perfectly depicts when love fades away from one perspective and turns sour from the other.
No Body, No Crime:
HAIM features on this, but it is based more on the country music scene, from what I recall, rather than the usual rock-based music from HAIM. As you can tell from the title, Taylor, with HAIM doing backing vocals, has gone for a topic about committing a murder. However, it is a double homicide told from different perspectives. The first verse is the narrator’s friend bringing up in a conversation that she thinks her husband is seeing another woman; in the second verse, her friend disappears, and the narrator is sure that the husband killed her and to avenge her friend’s death in the third verse, she kills the husband, but by doing this she compromises the case. Again, this is another powerful fable told by Taylor on this record.
Happiness:
The calibre of this song is quite astonishing when you consider it was the last one to be written in just under a week before the album was due to be released. Most might panic and therefore not put much effort into the last song they are writing just in case they miss the deadline by taking too long, but Taylor has managed to create a good song under that pressure and have it all done and ready to be included on the album. The story is both one of despair and optimism. The individual is going through the agony and six degrees of separation phase of splitting up with their lover, but they show signs of optimism, knowing that happiness will return once this phase has passed. The production complements the lyrics with its slow tempo and melancholic tone. Is the individual Taylor? It shows a mature approach to handling a breakup compared to her as a teenager, where she attacked every ex with venom over wax. If the character is indeed Taylor, then she has shown that as she has got older, she can move on and enjoy the next one to enter her life.
Dorothea:
Remember the track “Tis the Damn Season” earlier on and the unknown female? Well, this is her name and the continuation of the story. However, this is not told from Dorothea’s perspective but by her ex-lover. He was devastated when she moved to Hollywood and longed to be with her. He also ponders, now she is in L.A. chasing her dreams, whether she pauses to think about him. Although the subject is deep and emotional, the song has a relatively upbeat tempo.
Coney Island:
Now, I expected HAIM to feature, but the National? I wasn’t expecting that. Nor was I expecting a duet between Taylor Swift and Matt Berninger. However, I discovered that the National’s Aaron Dressner produces most of the tracks on this album, so it makes sense for Taylor to collaborate either by request or suggested by Aaron. The subject matter is once again that of broken love. This time, it is about a couple reminiscing on the relationship and how it fell apart because the levels of commitment were not balanced. The song also appears to be the couple trying to work out what went wrong and trying to see if they can try again. Taylor’s melodic vocals complement Matt’s customary raspy yet deep vocals.
Ivy:
The banjo is the main instrument this time. It features the first of two collaborations with Justin Vernon of Bon Iver (Later on, the entire band feature.) over a story about a wife committing adultery and subsequently falling in love with her secret lover. Even though she continues the affair as she enjoys the attention, she is trying to stay faithful simultaneously. It is similar to the story in “illicit Affairs” from the previous album and is also freakishly the tenth track.
Cowboy Like Me:
Another song inspired by her roots in country, the story is that of gold diggers who, instead of chasing those with wealth, end up falling for each other. Marcus Mumford from Mumford and Sons provides backing vocals. The song is also typical of a song likely to be composed by Mumford and Sons with guitars, mandolins, harmonicas, and anything from country music you can think of.
Long Story Short:
From an album steeped in country, this track departs from that with its catchy pop chorus, drums, and guitars out of indie rock. You can see this being on her albums before her current two. Taylor goes after the media and the misogynists who tried to ruin her career a couple of years ago (See my first review on the album where she goes fucking ballistic on those people for the whole story.). However, rather than getting herself worked up, Taylor’s vocals are balanced and calm. Even the lyrics are about not sweating the small stuff. She displays happiness knowing she is content in her relationship and that she is way past all this petty bullshit from her enemies. She writes lyrics to her past self to let these things slide and let her enemies defeat themselves by being starved of her attention and reaction. Taylor has shown a lot of maturity so far on the record.
Marjorie:
I am starting to wonder if “Evermore” is the continuation of “Folklore” with the topics, sound, and production. It seems like it is. Still, it doesn’t bother me a jot because I prefer Taylor when writing music in the genre her heart belongs to. Pop was to get a wider audience, but country is where her heart is. Also, there is another reason this is a continuation, and it is related to the thirteenth track of the respective albums. “Folklore” was an ode to her grandfather, who fought in World War II, and “Evermore” focuses on her grandmother, Marjorie Finlay, an opera singer whom Taylor didn’t appreciate until she passed away when Taylor was just a teenager. Taylor regrets this and wishes she could go back and fix this with her grandmother. It is also a grand, haunting gesture, that Taylor used her late grandmother’s vocals for the backing track. Sends chills down your spine.
Closure:
Many of us can relate to the topic here. I’m sure we have all been in a relationship where it ended badly, and we wanted to explain ourselves later on after the dust had settled as to why, but our ex simply refuses the closure and doesn’t want to know. This song describes that. In this case, it’s a male looking for closure from the female, but she has moved on and doesn’t find it necessary to explain it, rather than doing something to avenge the hurt he caused. The lyrics mention that he wants to remain friends after the closure and that he’s angry she won’t hear him out.
Evermore:
The closing and my favourite track. Sorry, but it’s got Bon Iver on it. What more is there to say? Justin Vernon and the rest of the band produce good music. I love this piano-based song with Taylor and Justin doing a cypher and harmonising together, which touches on depression with a mix of dark and optimism to end the album. The highlight is the cypher for me; it is scarce to see vocalists go bar-for-bar like they were rapping or sharing a poem.
Song recommendations: “Evermore”, “Coney Island”, “Long Story Short”.
There is no need for a background on the Vamps, as I already did in 2017. Anyway, “Glory Days” is the second track off the album, leading off from the short piano introduction of the said track. It is about living in the moment. The band has said that instead of releasing track after track or album after album, they needed a break to find their creativity again, and you can see that with how the songs are written on this record. There has been animprovement since they took this decision.
Let’s look at “Married in Vegas.” it no longer sounds like a Vamps song from their youth but a more grown-up one, giving you a sense of what direction they intend to take on future albums. They also released this as their first single to tease the new album.
Although the sound may have got more grown up, and they’re shaking off that boy band tag, the sound was very familiar from their usual songs, which meant that my concentration wavered a bit when I noticed that—saying that it is a departure from their younger days and a sign of things to come as they grow with their lyrics and versatility.
Song recommendations: “Glory Days”, “Bitter”, “Better”.
Honest Opinions 