Later…with Jools Holland

Week Thirty-Eight: Doves-Universal Want

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My first experience (Knowingly.) hearing the band from Manchester was while I was playing FIFA 06 in October 2005 when “Black and White Town” came on the official soundtrack. Not my favourite of theirs, but it did pique my interest and made me want to check them out. I was probably intoxicated at the time, but I had heard them three years back on Later…with Jools Holland, even before then, if I am being honest. Their songs “Cedar Room” and “There Goes the Fear” were everywhere, from radio to television adverts. Those two being my personal favourites of theirs. Not forgetting their acid house classic “Ain’t No Love (Ain’t No Use)”. Pardon? Yes, that’s correct. Doves started as Sub Sub in 1991 until 1996, when they worked with New Order’s Bernard Sumner. Since then, the members of Sub Sub decided to change direction with their sound and formed Doves in 1998, just after releasing “Delta Tapes” as Sub Sub.

Anyway, this is their fifth album after eleven years on a break, which initially was supposed to be the end of the band after 2009’s “Kingdom of Rust”. Jimi Goodwin even suggested during a gig in 2010 that it would either be one of their last or their last. But he was constantly dropping hints that maybe it wasn’t the end of Doves, a bit like the Stone Roses (Fucking hell. That’s the fourth Manchester band mentioned so far.) it looks like they have split again, but there is no confirmation on the official site or any announcement made. It’s just like Ian Brown with a cryptic quote, but he wants to concentrate on his solo career now. Jimi had been dropping these hints for six years and leaving cryptic messages via social media that maybe Doves were returning. And this year, they announced a string of gigs supporting various artists, but no mention of a new album that features the production of Dan Austin, who did their previous album. This one has been recorded at Frank Bough 111 Studios.

Now, I will do something different than usual with these reviews and do a short but sweet track-by-track review. Kind of a summary, if you will:

Carousels: Reminiscing about childhood experiences, especially at fairgrounds.

I Will Not Hide: Great vocals with a spine-tingling guitar solo. It’s very psychedelic over chill-out style music.

Broken Eyes: Doves, the Smiths, and Toploader. Save for Toploader, it is that typical Manchester sound.

For Tomorrow: Inspired by Portishead with the trip-hop.

Cathedrals of the Mind: a Hymn-like anthem dedicated to the late David Bowie.

Prisoners: Funk with remnants of “Black and White Town”. One that is ready for their setlist for when they go back on tour.

Cycle of Hurt: Returning to their debut album “Lost Souls” in 2000 with this ballad.

Mother Silverlake: An autumnal track that is very much country funk.

Universal Want: A segmented track that goes from acoustic guitar back to their acid house days and into old-school techno.

Forest House: A mellow ending.

Song recommendations: “Broken Eyes”, “Prisoners”, “Universal Want”

8/10

Week Thirty: Ellie Goulding- Brightest Blue

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This is more like it. After last week’s piss-poor album on the top spot, we have an album that deserves to be there for its lyrical content, production, and delivery. I remember when I first heard Ellie (I’m pretty sure we all can.), it was the song that started it all for her back in 2010, “Starry Eyed”. Although it is not one of her best or even one of her favourites, in her own opinion, it was still a strong song, and the dubstep break was pure genius, considering how popular the genre was becoming around that time. I can’t say I know much about her debut 2009 single, “Under the Sheets”, which only charted at no.53, but no one will forget “Starry Eyed”, even though it only charted at no.4 and therefore isn’t her highest position of that year, let alone her career. It was everywhere. You walked into a shop, you heard it. You switched on the radio, you heard it. You went to a fast-food restaurant, heard it, switched on the music channels, and heard it. From all that promotion, it saw her debut album “Lights” hit the top spot in her homeland and chart at no.6 in Ireland. A year after being signed, all the hard work paid off in only the beginning of what has been an eleven-year career. She has since had success with the singles “Burn”, “Love Me Like You Do”, and “River”(“River” being a Joni Mitchell cover.) scoring top spots. And every album save for “Delirium”, which was her last, has reached the acme. Bizarrely, it has been half a decade since Ellie last released an album, and it appears that “Brightest Blue” was worth the wait.

This record has been recorded over three years, with the majority done in 2017. I heard a snippet of one of the tracks on the lockdown edition of Later…with Jools Holland. Now, it was difficult to gauge any opinion from it as, as I have mentioned, it was only a brief clip of the music video for “Power”, which subsequently was released a month after the show aired. From the snippet and Ellie’s discussion with Jools about “Brightest Blue”, it sounded promising. I will go into details of how that did indeed turn out to be the case.

The album starts strong and explosive in terms of the production and language with a track aptly named “Start”. The song features a crowd cheering, then Ellie starts to play the piano and what sounds like a slow jam with serpentwithfeet singing through a vocal tube. I don’t know what they are called, but the late Roger Troutman and Jodeci were big fans of utilising the device. Okay, so maybe I exaggerated a bit on the “explosive” part, but the production is, all the same, outstanding. I was leaning towards the language used by Ellie rather than the production. It doesn’t fit in with the slow jam, but it is refreshing to see Ellie pour out her feelings and go with them in a way she seldom sees in terms of swearing in a song.

“Tides” caught my attention much later in the record, and it sounds like a song produced by Jamie XX or, indeed, a song for the XX. I wasn’t too keen on the features as, once again, the artists resorted to using that dreaded autotune. It spoiled some potentially impressive tracks on the second disc, which only renders “Overture” and “Sixteen” worthy of listening.

“Wine Drunk” is a very short track, but you can tell that Bon Iver has inspired Ellie as she used the same vocal effects that Justin Vernon uses. The title track that ends the first disc is a powerful song, and when you look at the lyrical content, it is very poetic. Here is an example of what I mean:

“Even in the calmest seas, now it’s all I wanna be, a semi-precious mystery, yeah I love me more than you, doesn’t mean I can’t be true.”

I love lyrics like that. You could use it for rap as well as for just poetry. Ellie has done a great job on this record, and both discs end strongly with “Brightest Blue” and “Sixteen”.

Ellie is cementing her place in music history, and you can understand why she is still relevant with unique vocals, catchy choruses, lyrics that strike a chord, and her desire to mix up her songs. This is one of her best albums to date. “Brightest Blue” captures your imagination from the very first listen.

Recommendations: “Start”, “Ode to Myself”, “Woman”

8/10

Week One: Lewis Capaldi- Divinely Uninspired to a Hellish Extent

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Okay, I didn’t expect to be reviewing an album from last year (And the last decade, obviously.), but here we are. My first review of the new year (And decade. No idea why I even said the fucking obvious.) is the debut record of the very highly talented Glaswegian Lewis Capaldi. I will be doing a track-by-track analysis:

Grace:

This was his seventh single, released on September 21st 2018. It was the beginning of Lewis getting recognised for his talent as well. However, I didn’t hear it until the MasterCard Brit Awards Critics Choice Artists of 2019. Well, it’s called something like that. The premise is the critics choose their tip of who will shine during the year, and in 2019, one of the artists they chose happened to be Lewis and how right they were. Anyway, back to the song. A fantastic way to start the record and an insight into what the listener expects from the rest of the album. A Wonderfully written song about love and not giving a flying fuck who knows about it.

Bruises:

From the title of this piano ballad, you can tell that this song will be weighty to listen to without feeling emotional. I don’t give a fuck if you are a ‘Man’ even if you feel emotion and are excused at being affected by this song. In this song, Lewis talks about feeling lonely and craving a love that he lost. Is he speaking from personal experience? He is twenty-three, so there’s a good chance, he has been in that position. Not all young and naive lads like to play the field before finally reaching their late twenties and falling in love. You can feel through the vocal delivery and the lyrics that he is fighting with his mind, body and soul to try and forget about her and move on, but he keeps falling under when he is trying his best to get out. We have all been there; I can guarantee you that.

Hold Me While You Wait:

Well, another very emotional song that makes you sit down and listen very carefully to the lyrical content that this very talented musician and songwriter has on display. This track has multiple layers to an individual’s feeling of love. They could be in love, heading for a breakup or infatuated with their lover. But the song lives in the moment and wants to savour it, regardless of future events. Ergo, “Won’t you stay a while”.

Someone You Loved:

Despite being number one in five countries in 2018, the song was still constantly played throughout 2019. There are many formats, but nothing beats the solo vocals and the piano original. This song is the one that we all know him for—his trademark heartfelt lyrics over melancholic piano keys. The lyrics remain stuck in your head for days on end, and you seem to get the chorus stuck in there, and without even thinking about it, you’re singing or whistling it to yourself. The piano also plays over and over inside your head when you take a moment to pause or close your eyes as you head off into the dream domain. What a truly magnificent song that hits you upon the very first listen.

Maybe:

I have learned about Lewis from this record (To be honest, just listening to his interviews, I have pretty much picked up on it) that he wants to find love but seems not to let it all take its course and flow with it. Ultimately for that reason alone, he ends up getting hurt. He should learn lessons from how he does his music because he flows with that, and it all turns out to be done to perfection. Why? Because he is not rushing and remains calm. Another powerful track where he asks if we are better alone rather than staying in a relationship and destroying it by rushing in and then repenting that very fact. The track talks about the never-ending doubts plaguing our minds and whether we are cut out to be in relationships. We’ve all been there. Our minds are only apparent when we are single and advising our acquaintances who seek our answer. Because, then, we are reasoning, but like Lewis explores in this track, our minds all turn to shit when it is we who seek the answer we so confidently give to others.

Forever:

Although I haven’t cried yet listening to this album, I can relate and find it very powerful. This song is simply brilliant. Lewis says that no matter how much you love someone, sometimes it doesn’t always work out. Therefore, a relationship will inevitably end, but all the memories shared during that period will never be taken away—the quintessential track about heartbreak.

One:

In this track, Lewis is directly speaking to the ex-boyfriend of what appears to be his current girlfriend (Although, I am pretty sure he is single. Unless he did get together with Imelda May’s friend after that Later…with Jools Holland episode in November last year.) and thanking him for letting her go with the way, she was mistreated and then ended up with Lewis. Another trademark piano ballad that gets up very close and personal with someone Lewis shouldn’t even give any attention to.

Don’t Get Me Wrong:

This is Lewis wishing to escape a relationship that has run its course before things get extremely ugly, and they end up hating each other for life. Listen very carefully to the lyrics, and you can hear that they reflect our hearts in this situation, but we can’t find those words. Well, unless you partake in the expressive arts, so find it much easier to speak your mind through those means. An infectious, slow, but poppy track that will capture you.

Hollywood:

The first time I saw him play this was with the beautiful Gibson B.B. King Lucille range guitar. Anyway, he plucks the instrument gently and slowly in a way that would make the late guitar hero proud and see that his axe was not wasted on this track. Lewis talks about how he would like to fall in love, but the trials and tribulations of fame become an obstacle. Although he is constantly away from home and busy in the limelight, he wishes to try his best to get a girlfriend no matter how far away she may be. He may conceal these feelings while on the road, but he can’t deny how his heart feels.

Lost on You:

When he recalls how this track was born, I imagine he was extremely drained by the ordeal. Lewis talks about admitting defeat in a relationship he has worked so hard to maintain that he can’t go on much longer. He has reached the point of nothing left in the tank as he picks up the acoustic guitar (Quite ideal on a track like this.) and foretells the story in every frank and brutal detail. It’s also very educational, as it tells us that we shouldn’t exhaust ourselves and become ill at the expense of a relationship that just wasn’t meant to be.

Fade:

Heartbreak is not the word to describe this track, and I recommend you watch this one live to see the raw emotion etched all over his face and feel the tone of his voice. Even the body language shows the genuine emotion of the track. The original has drums on it, but I prefer the acoustic version because, as I have previously mentioned, that’s when you understand the purest meaning of a track that is so emotionally charged. On this track, he concedes that she never wanted him the way he wanted her. She was just in lust, whereas he was in love and is trying his best to hold onto that feeling as the relationship is rapidly fading away. Look out for the vocal delivery and the lyrics on this one.

Headspace:

You can tell why the record is aptly named as we enter the final track. There has been a constant theme throughout being hurt while in love or seeking love. Not all twenty-three-year-olds can go out, have fun and sleep with multiple people until they hit a certain age and look to settle down. Indeed, I could tell you a few stories about DJs and MCs well into their forties who are yet to consider settling down. Bon, Lewis explains to us how he copes with heartbreak on “Headspace” and how falling in love at an early age can have effects that will last forever on those who fall prey to it. He sends us surfing on a wave of emotions over a lightly plucked guitar, just like he has done for most of the record. Lewis has only just started. If his follow-up album is better or matches the excellence of this his debut album, I can see a very long and successful career for him. It’ll be richly deserved as well. Last year, he was only warming up, so look out for him as the year unfolds.

9/10

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Week Forty-Eight: Noel Gallagher’s High Flying Birds- Who Built the Moon?

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Here is the track-by-track review of the third album:

Fort Knox:

 Noel has gone on record saying that this track was written for Kanye West, but he thought it was so good that he felt he deserved it more than Kanye. Anyway, the track has repeated lyrics and guitar chords, albeit when he starts repeating, “You’ve Gotta Get Yourself Together”. This track would be good as an introduction to the forthcoming concerts or great as an alarm clock (Although I doubt you would wake up to such smooth music.) I like the album after just one track and am pleased that David Holmes has sent Noel far out compared to the trademark Oasis-style wall of sound. Will Oasis fans who are narrow-minded like this? Probably not, but they’re fucking idiots, anyway. More on that in the overall review.

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 is also the lead single used to promote the record. It’s a bit of bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.

Keep on Reaching: 

David took Noel out of his comfort zone with this track with some soulful vocals followed by an instrumental section that could only be described as funk inspired. The beginning also features some excellent keyboards and a ballsy kick drum.

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 am still waiting to hear this on the live version, in the warm-up concerts or on Later…with Jools Holland last month. 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 had said that it was too late to change the spoken word when Charlotte informed him that 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. Also, more on that later.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).

She Taught Me How to Fly: 

This track is a weird one for me. Although it isn’t my favourite, it certainly is one of my favourites. I love the lyrical content, and I fucking love playing it on the guitar. This ode to his wife, Sara, has a sound that is very close to New Order. Some may disagree, but this track could easily have been made for New Order. It has a bass style similar to that of New Order’s former bassist, Peter Hook. Noel has headed back to the Madchester days with this.

Be Careful What You Wish for: 

This track was written as a message to his three children on what to heed and learn from life as they grow older and more aware of the world. Again, this track is far out for Noel, and it is a continuous melody throughout, albeit with a slight change in the chorus. This is probably the most anti-anthem song he has done since “(Get Off Your)High Horse Lady” with Oasis on their final album from 2008, “Dig Out Yer Soul”. I have heard this song live, which is indeed a song that cools down the audience. I think he will only play this live for the children. The message conveyed is the preaching you would hear in Speakers’ Corner. If I recall correctly, he said this song was born after he walked through Speakers’ Corner in the summer of 2017.

Black & White Sunshine: 

This is my favourite off the record, but that changes every day. Albeit, this track remains at the forefront of my heart and mind. I love the message conveyed and the upbeat feel of the track. The vocals delivered with a punch the air passion. This is Noel’s “Fuck you” track for all those who want to bring evil to the world. Is this as close to the Oasis wall of sound on the album so far? Not for me. It is still a track that Noel would only sometimes do, although in some reviews I have read, they believe that to be the case. No matter what you might think, this track leaves me feeling optimistic and cheerful.

Interlude (Wednesday Part 1): 

Why, oh why, do artists/bands have these? Oasis was very guilty of having interludes, but they are nothing more but throwaway tracks chucked onto a record because, who the fuck knows? Utterly pointless. Just throw on a track that didn’t quite make the cut. At least, it will be a completed song. Noel has said that the interludes featured on the record are, indeed, songs that are uncompleted, that he may revisit at a later date. The song features acoustic guitar, drums and bass before being accompanied by synthesisers. Nothing much else to say.

If Love is the Law: 

The first track to feature another artist on the record in the shape of Noel’s good friend, Johnny Marr, who plays guitar and harmonica. This track has a Smiths sample (I think Johnny is playing “Hand in Glove” on the harmonica, I’m not entirely sure, but it’s definitely from a Smiths track.), so how appropriate Johnny features?

It is worth noting that Noel’s estranged younger brother, Liam co-wrote a song with a similar title with Chris Helme of the Seashorses (It went on to be a hit in 1997 and is one of the songs synonymous with the band.).

the Man Who Built the Moon: 

Wow. This is the title track, albeit the name is slightly changed. I love this track; it is majestic and features haunting keyboards, complete with lyrics that appear to be less of a song and more of Noel narrating a fable. This is very much a departure from Oasis, as I think the song could be used for a Science-Fiction film like Star Trek or some insane film about space by Steven Spielberg. The chorus is littered with horns, which adds to that whole feel about it.

End Credits (Wednesday Part 2): 

Ah, dear. Here we go again. Although it is an improvement from the first part, interludes do not belong on an album. The keyboards are very angelic, though. This is the end of the standard album, but I am reviewing the Deluxe edition, complete with the Japanese bonus track.

Dead in the Water: 

Well, those who yearn for Oasis will 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 wholly 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. The standout line, apart from the whole chorus, 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 it been given new life? Whoever it is about, it is very powerful 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. Singing with a tint of melancholy in his voice and laying his soul bare.

God Help us All: 

This track features as the Japanese bonus track and was first discovered in 2007 from a studio session for, I don’t even know. It might have been “Dig Out Yer Soul”. This track was also played in a soundcheck during the ill-fated 2008/09 Tour for “Dig Out Yer Soul” during Noel’s last few years in Oasis. This song has kept much of those two versions, as you get the impression it was recorded in an empty theatre and sounded like a demo. There are rumours it was re-recorded during the “Noel Gallagher’s High Flying Birds” studio sessions in 2010 and 2011 but wasn’t pursued to feature on the final track listing for the 2011 debut album. I forgot to mention that it also re-emerged on the “High Flying Birds” Tour of 2011/12 with a new verse featured on this recording. Anyway, he plays acoustic guitar while singing about what appears to be Armageddon.

Overall: 

It is no secret that it was, indeed, Noel who inspired me to write and pick up a guitar and several other instruments back in the mid-1990s. I also make no secret while everyone else preferred Liam at school, I aspired to be Noel and have been a fan of his from my very first listen to Oasis. Once again, Noel has proved why he is a tremendous songwriter. Even taking him out of his comfort zone while working mainly in David Holmes’ home studio, Noel has made it work. David got Noel listening to some rather obscure music and even got him to play instruments Noel tends to struggle with and would only dare play live once he has played them enough to feel comfortable with. Noel was originally very disheartened and didn’t believe working with David was the right decision. David would tell him time and time again to stop writing songs that sounded like Oasis. Indeed, for “the Man Who Built the Moon”, David got him to write out 26 choruses before he was satisfied with Noel’s 27th attempt. So..back to earlier, the Oasis fans, whom I have referred to as “fucking idiots”, are mainly what I like to call the “Supersonic 2016 Generation”. They appeared after the 2016 film and could not get past how Noel’s singles for this were totally different from Oasis material and therefore proceeded to bash it and generally be narrow-minded. An artist is free to express their music however they want. Something lost on these bunch of twats. Also, going back to another point earlier mentioned during “It’s a Beautiful World”, Noel has made a record that is very much upbeat and spits in the face of the evil people in the world who want to destroy the earth. He has even said that this record was about feeling great and upbeat and taking our minds off all the bad things we hear about in the mainstream media. I would love to score this album perfectly, but the interludes are where it falls down for me. It is also perfect, and even if you don’t get it after a few listens, it will grow on you. 9/10