Jazz

Week 15: RAYE- This Music May Contain Hope.

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I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

9/10

Week 40: Olivia Dean- The Art of Loving

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I planned to start with a brief introduction to Olivia Dean, but since this is quite a lengthy review, I will leave it until next time. Olivia Dean expresses something that is often lost in today’s society. A society full of anxiety, negative news headlines, and anger. Her second album, “The Art of Loving”, asks the listener to take a moment, listen, and find kindness in their soul. Now, I have never done a review like this, but I am going to use bullet points. Let us begin:


Her vocals:


Olivia’s vocals act as a warm hug, inviting you into her world from the very first note. Her voice has a unique duality, speaking directly to you while also addressing the wider world. The light production, featuring acoustic guitars, brushed drums, brass, occasional piano, and strings, further reflects Olivia’s emotional journey. Her lyrics reflect her hopes, dreams, heartbreak, and above all, her enduring kindness, making you feel included in her story.


What question does ‘Nice to Each Other’ ask?:


Of course, one of the standout tracks is her latest single, ‘Nice to Each Other’. The song depicts two lovers at war during their relationship, but of course, the chorus asks them to be nice, even when they shouldn’t, because they are hurting each other. The track reflects these emotions of conflict and reconciliation. The sublime jazz-inspired piano hook causes the track to swell after each verse, before dropping into a chorus where Olivia’s vocals take the limelight over a reverberating snare drum. The production is quite clever here, as it shows us that even through ill feelings, a soft approach can be taken, rather than a knee-jerk reaction leading to a blazing row and plenty of volume.


Her love of lounge jazz to mirror empathy:

Olivia’s passion for lounge jazz is beautifully captured in ‘CloseUp’. The track’s unique features, such as the muted trumpets that accompany her sincere and softly spoken apology, the brushed drums, the laid-back bass, and the saxophone that mirrors the lyrics, make it a standout piece. The profound lyricism is certainly a highlight, but the true beauty of the track lies in how the instrumentation breathes life into the song, creating an emotional connection that allows the listener to find their personal experiences within.

The versatile message in ’So Easy to Fall in Love”:

A track that says let your inhibitions go, but also to tread with caution. The title is apt because it is indeed easy to fall in love, get caught up in the moment, and become naïve to the pitfalls that will eventually occur. The production reflects this by using the electric arpeggiated piano and a bright sound to convey infatuation. Her vocals are once again tender, but warm.


‘Something In-Between’ showing the selfish side of love:


Olivia has created a record full of blissful stories about love, but she was also not shy about discussing the other side of it. She talks about protecting one’s worth and standing her ground to avoid being taken advantage of. The track itself is aptly played in the minor key range, featuring a lightly strummed acoustic over a low synth pulse. Reflecting the sense of being at ease with standing your ground, but also knowing that not losing face can be risky to the relationship.


The three-part coda:


While most albums end with a simple coda, Olivia has included the final three tracks, ‘A Couple Minutes’, ‘I’ve Seen it’ and ‘The Last Note. ‘I’ve Seen it’ is about her discussing love with a conviction she feels has never been done before. One particular lyric highlights this: “I’ve seen the movies, I’ve read the poems, but the real love that sticks is the one that hurts enough to matter”, and she is right. It does. Most romantic songs have an air of pretence about them, but Olivia has done it more genuinely. For the first time, an electric guitar is utilised as it bends, representing a sigh, while a light harmonica blends into the background.

Why the album shines a light on being kind:


As mentioned earlier, we live in very evil times, and “The Art of Loving” illustrates that kindness is often frowned upon in society because it is seen as a sign of weakness, and individuals can be easily taken advantage of. However, Olivia has used it to show that being kind is a good thing and as a form of rebellion.

Let us have a look at the tracks I have been discussing, then what they teach us about being kind:

Nice to Each Other:

Even if we have ill feelings towards someone or something, we can choose to show kindness instead of responding in a way that worsens the situation.

CloseUp:

Before rushing in with all guns blazing, we should take a step back and assess the situation to understand it before deciding on the appropriate action.

So Easy to Fall in Love:

Yes, it is pure bliss to feel in love and grow stronger because of it. It may leave our hearts open, but we should embrace it, rather than see it as a weakness.

Something In-between:

Be in a loving relationship. But make sure you can stand your ground, so one person does not dictate the relationship. The balance will ensure the relationship is healthy.

I’ve Seen it:

Love is not perfect. It has its pros and cons, as with everything in life. Give both the rough and the smooth a warm hug.

The lyricism is profound, and her vocals are like standing next to a warm radiator, making you feel warm and cosy as the songs radiate with kindness. In a world that sees love as a weakness, she sees it as a strength. She does not know the answers, nor does she pretend to, and she refuses to be a wallflower about asking. That is why the record shines a light on being kind.

Outro:

Olivia’s album paints a picture of a world where the need to express thoughts is as urgent as a megaphone’s call. Yet, Olivia’s voice rises above all the noise, calling for whispers of kindness, devoid of any expectation of grand gestures in return. She invites us to listen, to pause, and to harmonise with the gentle sound that embodies humanitarianism. Her goal is to evoke a fuzzy, humane feeling, which she more than delivers. Her message, both thought-provoking and steeped in kindness, is a rare and precious find in the 21st century when it comes to love.


Song recommendations: ‘Nice to Each Other’, ‘CloseUp’, ‘So Easy to Fall in Love’

9/10

Week 34: Tom Grennan- Everywhere I Went Led to Me to Where I Didn’t Want to Be

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Tom’s latest album is more than just songs to add to his growing repertoire; they are from his soul. “Everywhere I Went Led Me to Where I Didn’t Want to Be” sees him explore new sounds over fifteen tracks. He delves into his struggles with his self-belief and the confidence he has gained since those times.


Yes, Tom still has that pop-friendly sound we have associated with him since the debut record, but he isn’t afraid to flirt with a diverse range of sounds. Jazz features on ‘Certified’, disco on ‘Lonely Dancer’, and ‘Drama Queen’ with a touch of rock. This album offers a plethora of genres, characterised by frank lyricism and raw vocals.


On the surface, the record contains sing-along anthems and tracks you can dance to, but underneath you can see the vulnerability in the lyricism and of course his vocals. He discusses batting his demons over uplifting instrumentation, which represents his defiance against them.


Justin Tranter encourages Tom to use trumpets, arpeggiated piano, and, of course, find new harmonies within his vocals that captivate the listener as we go on a journey of his life.


’Somewhere Only We Go’ is a standout. The track has a blend of change and growth, sharing memories along the way. The steady tempo, drums, and a swelling guitar riff complement Tom’s vocals.


The tempo drops on tracks like ‘Cinnamon’, where he is more tender in his delivery. The track also welcomes the second half of the album. A departure from an energetic first half.


Another track similar to ‘Cinnamon’ is ‘I Won’t Miss a Thing. ‘ This emotional track is a piano ballad, where Tom can really let his emotions go, where he addresses life and even though those who have passed on still remain with us, albeit in spirit—a track where reflection is necessary.


Of course, you have tracks full of energy like recent singles ‘Full Attention’ and ‘Boys Don’t Cry’ that firmly fit into the rock category, and I will add ‘Full Attention’ to my song recommendations, but overall, the record is another feather in his cap. We have his vocals blending with the variety of instrumentals that show his ability to express power and tenderness where required. The sound may be on the whole uplifting and fast tempo, but as mentioned earlier, when you listen to the lyrics, you will hear a sadness in his soul, defiance, and maturity. My only complaint is that most of the songs are far too short. Just as you are getting into them, they are over; apart from that, the record displays every side of Tom.


Song recommendations: ’Somewhere Only We Go’, ‘I Won’t Miss a Thing’, ‘Full Attention’


7/10

Week 15: Elton John and Brandi Carlile- Who Believes in Angels?

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Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 33: Beabadoobee- This is How Tomorrow Moves

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If you’re curious about her name, it’s a tribute to scatting, a technique deeply rooted in jazz. As a Filipino Londoner, she’s a bit of a mystery (to me at least.), and I had to do some digging to learn more about her. This is her third album, and it’s been produced by the legendary Rick Rubin at Shangri-La, Malibu. 

Her real name is Beatrice Laus, and her breakthrough came with a song named ‘Coffee’, which she wrote when she was living with her parents at 17. Of course, seven years after that hit (I’ve never heard it), the singer-songwriter/guitarist has her own place. She also had a track go viral via TikTok. It was about crushing on Pavement’s frontman Stephen Malkmus, which isn’t only a strange crush but also made her go viral when most of those using TIkTok are too young to know the band, let alone its frontman. 

Her second album, “Beatopia”, released in 2022, is a far cry from her debut in 2020 “, Fake it Flowers”. Her debut was more overdriven guitars, which is quite popular among pop-punk and was once utilised by bands like Green Day when they were fresh on the scene. You could add Oasis to that because the first albums used a lot of overdrive on their guitars to give it that attitude. The follow-up was more downtempo with the music we associate with artists like Norah Jones, Corinne Bailey Rae and Gracie Abrams. Since being one of the support acts on Taylor Swift’s “Eras” tour, her fame has skyrocketed to a level she never expected. Anyone on the fringes who has supported Taylor so far on the tour has seen their stock rise to incredible levels. I’ve noticed this is the third fringe support act with a number-one record.

Bea’s vocal ability increased on this album, and she discussed how she is learning to mature as an artist while being under the microscope over catchy hooks and rocking out over dry lyrics.

’Ever Seen’ was inspired by how someone complimented her eyes and how that gave her an ego boost. ‘Real Man’ discusses how an old boyfriend had failed her.

On songs like ‘A Cruel Affair’ and ’Tie My Shoes’, she blends reality and fantasy in discussing her fears of being an adult, a theme that continues from her previous album, which was named after a fantasy world she created. The blend continues on this record, making it a sequel of sorts, but the characters within the stories have evolved, and their issues become more intense, adding a layer of intrigue to the album. ’Take a Bite’ is the opener, starting with a rock-out bang. It is about gaining knowledge after a relationship has ended and finding the answers as to why the initial chemistry didn’t last.

‘One Time’ is about taking revenge, and then we have her hurting in ‘Girl Song’, so there are several sides to her and her character’s personalities. Leading on from ‘Girl Song, ’ the song focuses heavily on her self-loathing, especially on her appearance.

On ‘California’, she talks about life on the road and how it is affecting her being away for long periods from her lover. This is expressed further in ‘Coming Home’, where she longs to return to her regular life and enjoy the simple things.

Rick successfully balanced Bea’s conflicted emotions in the overall production, a feat missing from her self-produced previous albums. Rick’s knack for producing what the artist has expressed within their lyrics is evident, particularly when you look at artists like Eminem. But it’s not just Eminem-Rick has worked with countless other artists across a whole range of genres, demonstrating his versatility.

As the album was recorded in California, why wouldn’t Red Hot Chili Peppers inspire her? That is evident on ‘Beaches’, another track to rock out to. As mentioned, Bea likes a lot of overdrive on her guitars, but Rick has found a balance on this album. There is even the odd piano ballad.

We have a mixture of piano ballads like ‘Girl Song’, where we can see her vulnerabilities, then the rock-out guitars on ‘Everything I Want’, the attitude and the self-confidence on ’Take a Bite’, and then there is even bossa nova featured on ‘A Cruel Affair’. It’s quite funny that her lyrics contain her insecurities about how others perceive her. She says writing is her way of healing and letting it pour out through songs, but she fears people in her life see it as a way to cause harm and upset. I have to say, as I knew nothing of the artist, I was expecting something that was pop or R&B. I didn’t expect such a diverse and balanced record of rocking tunes, downtempo, acoustic ballads, with, as mentioned before, the odd piano ballad. This unexpected variety is what makes her work so intriguing. I will definitely seek out her material in the future.

Song recommendations: ‘Take a Bite’, ‘Beaches’, ‘Girl Song’

9/10

Week 33: Hozier- Unreal Unearth

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Who could forget 2015 when Hozier went toe-to-toe with James Bay for the anthem of the year? I am trying to remember who won precisely, but both anthems are now somewhat iconic. That was the beginning of Hozier’s already lengthy career. We might not have heard of him until then, but he was in a band before and did several live performances as a backing vocalist, et cetera. His anthem, ‘Take Me to Church’, finally got him noticed. The whole album was good, and the songs performed live were quite celestial. According to an interview with Jools Holland, “Unreal Unearth”, his third studio album, is inspired by literature, such as Danté.

What I found somewhat surprising is Hozier has written only two songs on the record, and the rest are co-written. You would think Hozier wouldn’t find this necessary, as he has shown he is a great songwriter on many occasions. As you can imagine, the two he wrote are by far the best work on the album. One of them would be seen as controversial over here as it details how the Irish citizens suffered at the hands of Britain during the invasion. Particularly the holocaust, which is dressed as the “famine”. The track in question is called ‘Butchered Tongue’, and over this plucked acoustic tune, Hozier gives a fiery vocal delivery about the injustices. If you can’t handle sheer honesty in the song, then don’t listen. He doesn’t hold back. It was also refreshing to hear a Gaelige song that introduces the album—further stamping his Irish identity. The second, written by him, is towards the end of the album ‘Unknown/Nth’, an ethereal track riddled with metaphors.

Another of my standouts are songs I had earlier in the year when he performed on Later…with Jools Holland. ‘Eat Your Young’ is quite a disturbing track. Still, it has some fantastic guitar work by Hozier and then ‘Francesa’, a highly emotional track about someone dying of an incurable disease. The vocal delivery on both are raw and sung with absolute conviction. Hozier’s lyrics go from biblical references, to the outlandish naming of car parts. It is beyond insane as the record progresses. The biblical references kind of blend in with the whole Danté-inspired premise. 

In the Spring edition of Later…with Jools Holland this year, Jools felt the album was eclectic, and Hozier agreed. Indeed, this record has funk, soul, Celtic, and rock, to name a few. As well as having co-writers, Hozier also did an indie-inspired track called ‘Damage Gets Done’ with Brandi Carlile. Then there is a jazz track, ‘All Things End’. You would be forgiven for detecting a metronome, but it is surprisingly finger clicks, complete with a gospel choir in the chorus. 

It was disappointing to find Hozier acquired co-writers for this album, and you feel cheated knowing he did. Yes, co-writers can write, but they need help understanding the meaning of your songs. As mentioned earlier, Hozier, in his own right, is a great songwriter, so this decision seems odd. Hozier is known for writing passionately about things he is interested in or his life. I can only think the record label browbeat him into using co-writers because they would be able to stem his creativity on what can be controversial opinions. The real test is how they hold up live. Although the album might be slightly manic with the genre-hopping, I still find it quite a good listen.

Song recommendations: ‘Francesca’, ‘Butchered Tongue’. ‘De Selby Part 1’

8/10

Week 9: Gorillaz- Cracker Island

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

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

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

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

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

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

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

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

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

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

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

8/10

Week 42: the 1975- Being Funny in a Foreign Language

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Fuck’s sake. It has unfortunately come to this—another review on an overhyped band with the young crowd. I do not get the appeal of these little rich boys. They are simply awful. I’d rather listen to Tim Healy than his son.

For their fifth album (How the fuck did such a poor band make it to five?!), they employ the services of Jack Antonoff, who has worked with the likes of Taylor Swift on re-working her original records that were being held to ransom by Scooter Braun. You would think with; what he did with Taylor’s re-works, we would finally have a decent album by the 1975. Their leading single ‘Part of the Band’ showed promise (I think, I am going to be sick.)as it didn’t sound like their usual pop-rock dirge. I mean, the song has jazz influences over Matt’s conscious lyrics. Matt’s stream-of-conscious lyrics are probably the only thing going for them.

I find it insulting they dare acknowledge the likes of Crowded House, Michael McDonald, Paul McCartney or LCD Soundsystem. Their music is nowhere near any of their level. I zoned out on most of the record and went on my phone. A bloody awful album yet again. My instinct after listening to one of their songs on FIFA 14 was enough to tell me how crap they are. I stand by that, and I felt for all those at Reading and Leeds who had to endure them headlining when Zack was unfortunately injured while on tour with Rage Against the Machine. Hardly an apt replacement, is it?

Song recommendations: ‘Part of the Band’

1/10

Week 13: Michael Bublé- Higher

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It’s great when I don’t have to do a little introduction of an artist/band. However, I was astonished that this is his 11th album, four years since he released “Love”. Unfortunately for Michael, he has been pigeonholed into Christmas. In September, which is the official build-up, Michael appears. My first review of one of his albums was last year’s first number-one. However, Michael has done virtually a covers record this time with two new ones thrown in.

I was wrong. It is four new ones that complete the 13-track album. Indeed, the lead single is an original titled ‘I’ll Never Not Love You’, an optimistic song about love surrounded by big band and swing that wouldn’t look out of place being performed by the Rat Pack. As usual, Michael has hit his audience. That’s what you associate with him with his silky and bombastic vocals. ‘Baby I’ll Wait’, written with John Mayer, sees soul and rock collide. Michael can blend his songs with the classics he puts on albums and effortlessly sings during live performances.

So far, I am talking about the original songs Michael wrote. I am not sure they were meant to be on “Higher” because the other nine tracks are covers. Let’s look at the title track. It has a Latino feel to it, wrapped around upbeat instrumentation. Then, the final original title is ‘Mother’. Funnily enough, it is Mother’s Day weekend, and how apt that there is a track by that title on this newly-crowned number 1 record. Of course, as you can tell by the title, Michael is paying homage to his mum, and the method used is a ballad. It is also refreshing to see that Michael is more than just a tremendous cover version singer. His work shows how talented he is.

I just remembered about another original: the second track, ‘My Valentine, ‘ done with the Beatles legend Paul McCartney. 

Yes, it is a song about love, and if I remember rightly, he brings up Valentine’s Day, too. This track starts quietly before bursting into a big band and will be one to watch on the forthcoming tour. What surprises you most about Michael is his ability to record covers still and add originality to them. He has done countless covers, and you would have thought by now that he would be in a cul-de-sac, but no. He still has the knack.

Leading off from the covers section in the previous paragraph, He does a tremendous and jazz-inspired cover of Bob Dylan’s’Make You Feel My Love’. Meanwhile, Adele and Bryan Ferry kept it more in line with the original, which was melancholic. It is the best cover of the song I have heard and is my favourite. Michael has fun with it. 

You can hear the smile through his uptempo vocals; as I mentioned, the jazz element leaves you feeling fuzzy. He also covers the late Patsy Cline’s ‘Crazy’ with Country legend Willie Nelson on guitar. I am sure they exchange verses, too, and Willie provides backing vocals. 

The final cover I liked on the record featured in the latter half is of the late Barry White’s ‘You’re My First, My Last, My Everything’. You’d think this would be more soul, but Michael again has fun. This time, he puts a disco spin on it—an astounding change-up of sound on the album. Michael sticks to what he knows best for most of the record: big band and swing. However, he ventures into soul, a bit of country, jazz, and, more surprisingly, disco. There is no doubting his vocals, though. It wouldn’t matter if this album were panned because he has the vocals to nail any live performance. He missed a trick not releasing this in the autumn/winter because the tracks’ production and uplifting nature leave you feeling warm and fuzzy. I felt like I should have been sitting next to a log fire with my feet on a stool with a hot drink. I know it’s only March, but we are heading into Spring, and despite the rain outside, it feels warm. Michael missed a trick here on what is a splendid record.

Song recommendations: ‘Make You Feel My Love’, ‘You’re My First, My Last, My Everything’, ‘Crazy’

8/10














Week 43: Elton John- the Lockdown Sessions

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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