Melancholic

Week 4: Robbie Williams- Better Man Official Soundtrack

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As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:

Feel featuring Carter J Murphy & Steve Pemberton:

The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.

I Found Heaven featuring Tom Bales & Adam Tucker:

The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.

Rock DJ:

I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.

Relight My Fire featuring Tom Bales & Adam Tucker:

I never liked the original version with Lulu of this poppy dance track, and I still don’t.

Come Undone:

I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.

She’s the One featuring Adam Tucker & Kayleigh McKnight:

As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.

Something Beautiful:

I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.

Land of 1000 Dances featuring Adam Tucker:

This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.

Angels featuring Adam Tucker:

I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.

Let Me Entertain You featuring Adam Tucker:

One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?

Better Man featuring Adam Tucker:

From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.

My Way featuring Adam Tucker & Steve Pemberton:

Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.

Forbidden Road:

The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.

Song recommendations: Angels, She’s the One, Forbidden Road

8/10

Week 45: The Cure- Songs of a Lost World

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I first heard The Cure when they released the relatively upbeat ‘Friday I’m in Love’. I then saw frontman Robert Smith on the television on the Chart Show on ITV, and he scared the shit out of me. I was terrified of how he looked for several years, and my phobia of him and goths did not subside until I met them in high school. It was then that I started to understand that they were nothing to be afraid of, and my perception of goth culture changed. Anyway, I have been listening to the band for a few decades and was thrilled to see Noel Gallagher ask Robert Smith to remix ‘Pretty Boy’. Who saw that coming? Noel, a fan of The Cure, and requesting Robert to remix a High Flying Birds track? Back to the band, this is their first album in 16 years. Their last being “4:13 Dream” in 2008. They played a year earlier at Teenage Cancer Trust, where I saw the band in a new light. I only knew them for their pop classics, but this showed more of their gothic persona. Long intros and guitars tuned into D. The latter represents a more gothic and metal sound.

It’s quite strange that the band has toured consistently since 2008 but hasn’t released a new album. The fans feared that the band were becoming a greatest hits act, so it was nice to hear new material being teased since their 2022 tour.

The fans were relieved to hear new material and accepted it, which can be a gamble because the majority turn up to the gigs to listen to the classics and other familiar songs. I disagree with this, but most do. I would prefer to hear a balance. Funny how things change, eh? In 1995 at Glastonbury, Robert joked that their forthcoming “Wild Mood Swings”(released the following year)would probably be purchased at Camden market before its release. These days, records can be streamed, downloaded, and leaked on YouTube before they are even available for purchase.

‘Alone’ opens the album and is a sign of things to come. Long, drawn-out intros before Robert utters a single verse, usually beginning around the 3-minute mark as most of the eight songs last over 7 minutes, with the final track lasting almost 11. The themes are also pretty heavy. Discussing the deaths of his parents and his brother among them.

This record, unlike the commercial pop-friendly uptempo songs such as ‘Friday I’m in Love’, ‘In Between Days’ and ‘Just Like Heaven’, delves into deeper subject matters. Despite its weightiness, it’s still relatively easy to listen to because you get lost in what Robert says. My favourite on the album is a song I first heard during the previous tour, which only recently ended, called ‘I Can Never Say Goodbye’. This song, a heartfelt reflection on the loss of his brother, is a testament to the album’s emotional depth. Robert’s struggle to perform it live without succumbing to his emotions was evident, as he often moved away from the microphone, tears silently streaming down. I recommend listening to the lyrical content. It is wonderful yet heartbreaking.

The final track, ‘Endsong’, is the lengthiest track on the record, just under 11 minutes. It’s a journey back to Robert’s childhood, where he was playing in the garden, gazing up at the moon in awe thinking about how man went there. Now, as an adult, he’s attempting to piece together the significance of these memories. It’s this deeply personal connection that resonates with fans like Noel Gallagher , who, as a songwriter himself, can truly appreciate the genius of Robert’s songwriting.

There are some new additions to the band. Roger O’Donnell rejoins to play keyboards to be reacquainted with Robert, Jason Cooper on drums and Simon Gallup on bass. Before I talk about the next member, I would like to say that, as usual, Simon never disappoints. I often compare him to Peter Hook, and it is easy to understand why. They sound similar and are both sublime bassists. Now, back to the final addition, and making his debut on guitar, Reeves Gabrels, who did a fine job considering the nerves must have been jangling during the recording sessions. I am unsure whether the other returning member, Perry Bamonte, is featured on the album, but he has most certainly been performing live. The new album, ‘Songs of a Lost World ‘, is a return to their former glory creatively and musically, and the title reflects the themes and inspirations behind the music.

Can they improve on the next? Hopefully, there is another album in the offing, but they will have to do something extraordinary to beat this one. The Cure could have settled for playing albums in full during anniversary years or playing their greatest hits, as it is more than enough to satisfy the masses. However, they chose to dedicate themselves to creating fresh material, a decision that paid off. Hopefully, it isn’t the end of their recording days, and they are given time to work on it as they please, but if it is the final record, then the 16 years of waiting were worthwhile.

Song recommendations: ‘I Can Never Say Goodbye’, ‘Endsong’, ‘And Nothing is Forever’

9/10

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 19: Dua Lipa- Radical Optimism

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Track-by-track:

End of an Era:

It’s quite an unusual title to begin the album with. Relationships, a whirlwind of emotions, are beautifully depicted in the first track of this album. ‘End Of An Era’ is a song that sparks hope and excitement for starting a new relationship and what lies ahead. With their profound meaning, the lyrics transport me to the feelings of a new kiss and the magnetic pull of two souls. I felt these emotions and more while listening to this song, which is why I found it captivating—not forgetting the warm Mediterranean Spanish guitar accompanying her. 

Houdini:

This showcases Dua’s vocal skills. “Houdini” is about yearning to be your lover’s key priority before you ghost them. It is quite apt that it is named ‘Houdini’ because the late Harry Houdini used to perform magic acts where he would vanish/escape. The lyrics convey positive and negative emotions about wanting to experience a love utopia. It has powerful vocals and a catchy melody, putting it up with her best work. It still is not my favourite, though, on the record.

Training Season:

The subject matter is the same as the previous track. The song discusses how we move from improving our self-esteem to preparing for a serious relationship.

These Walls:

This is one of the standout tracks on the album. It deeply delves into the complex emotions that surface when a relationship becomes difficult. The term ‘walls’ is a poignant metaphor, reflecting the desperate attempts to salvage a relationship that’s falling apart. In essence, it’s a heart-wrenching depiction of a relationship’s decline, a song that’s sure to stir up emotions in anyone who’s been through a similar experience. 

Whatcha Doing:

The song focuses on whether you want to be in control of your life or share your feelings with others. I found this to be autobiographical, as you feel that she doesn’t want to lose control in relationships because she shows too much emotion, which leaves her exposed and, therefore, she loses her power. This is something that we experience, whether it is in a relationship or everyday life. 

French Exit:

It is fitting that as we reach the halfway point, the tempo drops, and the title is quite apt, as ‘French Exit’ means when someone slips out of a social event without letting anyone know they are planning on leaving. I have been guilty of these because I find them bloody awkward, and a sense of guilt kicks in if I do not stay until the end. In this case, it represents deciding whether to end a relationship face-to-face or walk away and leave things unsaid. Dua seems quite familiar with a ‘French Exit’ and depicts it perfectly. 

Illusion:

You can understand why this is one of the singles from the album; it’s one of those tracks that sticks in your head. This time, the focus is on recognising when you’re being manipulated, but unfortunately, ignoring the warning signs and trying to maintain control because we want to build trust and a connection, even though we’re only seeing an illusion. A fitting title.

Falling Forever:

This track is the record’s highlight, demonstrating her exceptional vocal range and musical talent. The lyrics “Can we just keep getting better / Can we keep falling forever?” express the yearning to deepen love and sustain that feeling eternally. It’s a genuinely sublime portrayal of love. 

Anything for Love:

The intro sets the scene with Dua in a lively social setting, followed by a captivating piano solo featuring Dua’s powerful vocals. Despite the initial melancholic tone, the song quickly transitions into an upbeat rhythm with a strong beat. Dua passionately conveys her refusal to settle for a love that gives up easily when faced with difficulties. This short, lively track is truly one of my favourites.

Maria:

‘Maria’ depicts an individual who profoundly impacts us and contributes to better future relationships. This is based on Dua Lipa’s personal experience, and “Maria” has evidently helped her improve her future connections. The positive influence of this individual continues to be felt in the future. I am actively seeking out songs written from this perspective, and I applaud Dua for her portrayal in ‘Maria’.

Happy for You:

The album ends with a melancholic ballad acknowledging a relationship is over, and your ex has moved on. Unfortunately, you now realise what you had that is now gone. I can guarantee most of you have taken love for granted and then had that sinking feeling once it has gone, realising that you love them more than you expressed. It feels like a punch to the gut once the realisation kicks in, which Dua conveys through the lyrics and the delivery. It is an emotional end, but another favourite for how Dua defines the feeling.

Song recommendations: ‘Falling Forever’, ‘Maria’, ‘French Exit’

9/10

Week 17: Taylor Swift- The Tortured Poets Department

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Are you a fan of Taylor Swift? If so, you’ll be thrilled to hear about the release of “The Tortured Poets Department”. This album is eagerly anticipated by fans who loved her recent releases, “Midnights,” “Speak Now,” and “1989,” which included bonus tracks from re-recordings of the previous two. With Jack Antonoff returning as the producer and Aaron Dessner, the National’s guitarist, this album will surely be a hit. Featuring a mix of synthesisers, country/folk-inspired tracks, and piano ballads, it’s a return to Taylor’s roots and her intimate gigs in Nashville. The album has no significant hits, but the songs are perfect for those calming moments during her live shows. The lyrics are thought-provoking and melancholic, with the occasional use of foul language. Taylor also takes a shot at Matty Healy, the frontman of the 1975, with whom she briefly had a relationship, which adds an element of controversy to the album. My favourite is ‘Robin,’ but many tracks on the album have deep lyrical content.

Song recommendations: ‘Robin’, ‘Peter’, ‘The Manuscript’

7/10

Week 2: Shed Seven- A Matter of Time

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THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.

Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:

Let’s Go:

BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.

Kissing California:

The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.

Talk of the Town:

Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.

Let’s Go Dancing:

This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.

In Ecstasy:

You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.

Tripping with You:

Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.

Let’s Go (Again):

A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.

Real Love:

The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.

F: K: H :

The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here. 

Starlings:

As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.

Ring the Changes:

It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.

Throwaways:

The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.

Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’

9/10

Week 42: the Rolling Stones- Hackney Diamonds

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Here is a track-by-track review of the band’s new material for a very long time:

Angry:

The teaser for the record is undoubtedly up-tempo and effortless. It reminded me of some of their songs from the 80s. More so with the riffs rather than Mick’s vocals, which never seem to change.

Get Close:

What I liked about this track is the band went rogue with this one and added a saxophone solo and harmonies that are hardly “a la mode”. However, I like all that avant-garde stuff, so fair play to them for not trying to follow the trend—the first of two tracks to feaure Elton John.

Depending on You:

It is a radio-friendly country ballad complete with soaring strings.

Bite My Head Off:

Paul McCartney (Who recommended they return to the studio for the first time in over a decade.) features on this punk-fuelled track. You wouldn’t know his presence on the track until Mick bellows, “Come on, Paul!”. 

Whole Wide World:

Another high-energy track that discusses Mick and Keith addressing youngsters about the things to look out for before they grow old and wise.

Dreamy Skies:

This is the halfway point and the end of the A-side of the vinyl (if you happen to purchase it.). As you can imagine, as it is the final track on the A-side of the vinyl, the tempo eases to a plodding country ballad, yet instead of lulling you to sleep, it still maintains the energy enough to grab your concentration.

Mess it up:

The vinyl’s flip side, or the second half of the record, begins with an outro/intro to give you the sense of being involved in the recording process in the studio with the band. Disco is not their most robust genre for experimenting, but it works with the stomping piano thrown in at the breakdown—this is one of the final tracks to feature their late drummer, Charle Watts.

Live by the Sword:

This is the final track to feature his drumming, leading off from the Charlie Watts thing. It is fitting, then, that this is also another uplifting track with a vibrant piano riff. However, this one is less disco and more what can only be described as a nod to the late Elvis Presley with Elton John(second and final track.) providing the aforementioned vibrant piano riff. Although not lyrically strong, it is surpassed by Mick’s vocal skills and Elton’s dazzling piano playing. Don Was from Was(Not Was) is on production. Ex-bassist Bill Wyman also makes a cameo.

Driving Me too Hard:

It’s a quintessential Stones track with recycled riffs. One for the purists rather than the casuals who might find this “safe” and just a filler.

Tell Me Straight:

It was the first track to have guitarist Keith Richards take over vocal duties. His vocals suit this melancholic ballad. Surprisingly, you want this one to last longer because there appears to be beauty in listening to this. I like melancholic songs, which the Smiths and Noel Gallagher have mastered, so I’ll let you cast your aspersions here.

Sweet Sounds of Heaven:

A sublime track. With Lady Gaga singing and the great Stevie Wonder working his magic on the keys, it doesn’t feel like the Rolling Bones(Deliberate.)are on this in any way, shape or form. It’s quite surreal seeing the band cede control of their track. It is the longest, weighing in at over seven minutes. Although Lady Gaga soars with her vocal performance, what happens when Mick returns to duet is beyond words. This gospel-inspired song is just exquisite. My favourite by far.

Rolling Stone Blues:

We end the album with the cover ‘Rolling Stone Blues’ by the legendary and late Muddy Waters. This is the first time the band have recorded the cover, despite it inspiring their name. It is a comedown after celestial ‘Sweet Sounds of Heaven’, but it doesn’t feel inferior in the slightest. 

Song recommendations: ‘Sweet Sounds of Heaven’, ‘Angry’, ‘Mess it up’

Week 39: Ed Sheeran- Autumn Variations

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What is this? His seventh album to get to number one? He’s only three behind Noel Gallagher in that respect. This time, Ed returns with a folky and reflective record that is quite apt this time of year, given the season we are about to enter. The title even reflects that by being called “Autumn Variations”. I couldn’t care less if this is Ed returning to what he knows best; it works for him.

The opener is called ‘Magical’, the title is apt, and the lyrical content, which you will notice throughout, is autobiographical and thought-provoking. Most of the album has this as a constant with some slight, excuse the pun, variations. The subjects include his birth, patriotism, pub talk, et cetera.

The album’s second half gets more adventurous, with Ed being more creative and deviating slightly from the folky first half. ‘ When Will I be Alright’ is a prime example where Ed shows his vulnerability and melancholy and adds a violin to match that emotion. ‘the Day I Was Born’ was also another favourite of mine. Wonderfully autobiographical. 

If you like Ed at its simplest, baring his soul on the acoustic, this album is for you. I loved it and the reflective nature. Quite a few people I have spoken to about it do not like “Autumn Variations” and called it “boring”. I’m afraid I have to disagree with them.

Song recommendations: ‘ When Will I be Alright’, ‘the Day I Was Born’, ‘Magical’

8/10 

Week 21: Lewis Capaldi- Broken by Desire to be Heavenly Sent

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Apart from working in the studio on fellow Celtic fan Paolo Nutini’s album, where has Lewis been? Well, he’s been touring his debut album since the world opened up again and has thrown a few teasers for the follow-up. It has been four years since “Divinely Uninspired to a Hellish Extent” was released. Has it? Blimey. I remember doing a track-by-track review, but it was the first month of 2020? It appears not. Anyway, in 2021, he postponed many tour dates to start work on “Broken by Desire to be Heavenly Sent” and, as mentioned earlier, aid Paolo Nutini with his. I don’t know if Lewis is Catholic, but he compares love and heartbreak in biblical terms, which makes this album have more of a religious slant to it.

Now, a new term of music has been created to describe some of his songs, and that’s blue-eyed soul. No idea if that is now officially a genre or if it is just one made by fans. Honestly, when he does ballads, I’d say they are more melancholic than “blue-eyed soul”. That is…I don’t know what it is, but I know the term is adopted for his ballads.

This record resembles his debut regarding the themes, instrumentation, and lyrical content. Albeit, this time, he goes deeper. ‘Heavenly Kind of State of Mind’ explores the rollercoaster ride of a growing relationship, and ‘Burning’ appears to be about his relationship with that girl off Love Island (Meg, is it?) who he wrote ‘Used to be Someone You Loved’ about, where it was never going to work out.

Despite being nothing like the late John Prime’s version, ‘ Wish You All the Best’ echoes the exact sentiment of a male wanting to let rip on his ex-girlfriend but then electing to let it go and wish her well to move on quickly.  Of course, we see the other side of his emotions, and it is explored in ‘Pointless’, where he talks about being in love but also mentions his struggles with depression.

‘Haven’t You Ever Been in Love Before’ explores the anxiety of falling in love but being afraid of letting it wash over you for fear of having your heart broken once again. We can all relate to this because we tend to be close to doing or doing sabotage. We cannot let what happened before happen again, so we panic.  So, that’s what the first half of the record explores. In the second half, we see more of his vocal ability. I especially noticed his diverse range in ‘Leave Me Slowly’, where he finds his inner Michael Bolton. When I heard it, that was the first singer that registered. There are many other comparisons, but I struggle to find a better one.

Beautiful strings can be heard on ‘How This Ends’ to combat his rich yet melancholic vocals. Honestly, what else would they be on? Besides, a song about a relationship meeting its end? The final track is quite apt and quite insightful regarding his struggles with depression. The title is taken from his Amazon Prime (Might be Netflix.) documentary ‘How I’m Feeling Now’. You may recall from my previous review that Ed Sheeran had a song where the instrumentation was uplifting in contrast to his lyrics to represent hiding behind a mask, and this track works on the same level. However, rather than putting on a brave face after a personal tragedy, Lewis is putting on a brave face when the depression controls his outlook on every aspect of his life. He isn’t alone in this. Several other musicians have admitted their struggles with mental health, one of them recently being George Ezra, which he documented in End to End.

As I mentioned, this is a continuation of the debut record regarding melodies and the constant use of a piano. Still, as I also said earlier, the lyrics go deeper than last time, but there is also now maturity within those lyrics. For example, he laid bare his hurt on the debut album and expressed anger. This time, he appears to move forward and forgive her for hurting him while trying to battle depression, fame, touring, and giving love a chance. I love seeing this guy perform these songs live, so that is when I will appreciate this record a lot more.

Song recommendations: ‘How I’m Feeling Now’, ‘Have You Ever Been in Love Before’, ‘Leave Me Slowly’

8/10

Week 19: Ed Sheeran- –

~ honestopinions19 ~ Leave a comment

Boat:

One thing you will notice about “-‘ is that Ed uses a lot of weather-based themes to foretell the latest trials and tribulations in his life. Although the lyrics and his delivery are pretty heart-wrenching, they are encased with rays of sunshine regarding the instrumentation. You may start to think it is a typical Ed acoustic, but the song builds as the choir comes in, making it more uplifting over Ed’s heartfelt vocals. Some of you may not like it and feel it is the same old thing because Ed is out with the acoustic again, but I say, listen to his frank story.

Salt Water:

Again, listen to the lyrics as he goes deeper with another life story. When you listen to the instrumentation, you understand how apt the title is. You have piano keys throughout, which represent the waves engulfing him, and the slow, steady drum beat, which means his struggle to stay afloat as the water tries to pull him under. There is then a bright moment with Female vocal harmonising coming in, which represents Ed’s soul letting go as it burns him inside from the pain he is experiencing. The bridge is where the tracks have ethereal tones, meaning Ed succumbs to the waves as he falls to the ocean bed. He has accepted drowning in his sorrows. The track then fades out, which represents Ed’s spirit giving up.

Eyes Closed:

For once, Ed starts a track on an uplifting melody. However, the song in question is another heartbreaker and a moment of reflection. This one is a tribute to SBTV’s Jamal Edwards, who tragically passed away early last year due to an overdose. Jamal was the guy who gave Ed his early but growing fan base when Ed performed from his London home over the Internet. It is undoubtedly how I initially heard of Ed after a friend, Joe, showed me some of the performance through his mobile phone in 2009. From there, I would keep my eyes peeled for Ed as I was left impressed. Those performances on SBTV gave him the platform he needed. So, the track has an uplifting melody, but it is also there to show that not everything appears as it seems and represents Ed’s sense of loss perfectly. Why? Because the upbeat melody represents Ed’s veil of happiness as he carries on after Jamal’s death when really behind the veil, he is struggling to come to terms with it.  The behind-the-veil segment of the tracks is Ed’s lyrics, which reveal the true extent of his grief. Ed, with an acoustic baring his soul, is Ed at his best.

Life Goes on:

If you thought the previous track was heavy, put on your lifejacket because this one is gut-wrenching and pulls at your heartstrings—a deeply personal story. Cherry Seaborn, Ed’s childhood sweetheart and now his wife, is carrying their child when Ed taps into the emotion Cherry is experiencing when she hears the news. Ed belts out ‘it hit like a train’ to convey the feeling that Cherry has found out that their happiness is soured with news that she has been diagnosed with cancer. The track is Ed talking directly to you candidly about how he is worried about what may be on the horizon. Ed is begging his wife throughout to fight and beat the horrible illness as he cannot imagine life without her. Why is it called ‘Life Goes on”? Well, Ed is saying that, unfortunately, the world doesn’t stop when a tragedy occurs. If you don’t shed tears or feel anything as Ed pours his heart out about Cherry, then quite frankly, your body is just a vessel with nothing in it. Even though Cherry could not be operated on during her pregnancy with Jupiter, she has since had treatment and is recovering.

Dusty:

After the heaviness of the previous track, Ed switches up to hip-hop. The instrumentation is quite groovy, as most hip-hop is, and represents the light at the end of the tunnel for Ed, as do the lyrics, as they are more optimistic. Indeed Ed even says enthusiastically, ‘the future is so bright’. The bridge is out of synchronisation with the rest of the song as it sounds like something the likes of 5ive, 911, Boyzone, Westlife, et al would utilise in their songs back in the 90s. This track is like a continuation of ‘Salt Water’, although this time, it is Ed climbing off the ocean bed and swimming up while floating on the calmer seas as he gets above the water. Ed represents this with a high-frequency sound at the end of the track. The sound means his ears are unblocking as he returns to the surface.

End of Youth:

Oh dear, that calm ocean has turned rough again as Ed finds himself battling the waves that are dragging him under. To represent the sense of drowning and hopelessness, Ed utilises minor chords, which, if you have a good ear for music, are used in sad/reflective songs. To add to the gloomy mood, Ed throws in strings that match his vocals as he foretells how the grief drove him to attempt suicide. Another track that leaves his heart open.

Colourblind:

Staccato piano chords over loving lyrics to begin with Ed propelling back to 2013 when he was recording “X” and recording the controversial ‘Thinking Out Loud'( I am not going to go into the details about that. Just Google Marvin Gaye and Ed Sheeran for that story.), which this song draws inspiration from. The track is uplifting, and Ed’s happiness is heard through the vocals. When he was in the booth, he had a smile on his face when delivering the vocals on this one. Ed then tests his vocal range as he goes high and falsetto over a choir, adding that angelic and floating touch.

Curtains:

Ed showcases another segment of his vocal range: singing lower than ever. This track also breaks away from the usual acoustic and heads into the electric and rock arena as you can hear electric guitars, crashing cymbals, and thumping drums over Ed’s vocals. The chorus is even more frantic, representing that Ed is breaking free of his worries and rediscovering his zest for life. This whole track has a positive message for Ed and the listeners.

Borderline:

Once again, Ed sinks to the bottom of the sea as the depression takes hold. I call this the manic depression track because the instrumentation represents the manic cycle, and the lyrics describe the clinical cycle. When we get to the chorus, the song breaks free of the manic depression, and a bright sky breaks through. Very autobiographical.

Spark:

This is like swimming against the rough seas, represented by the bouncing beat before the drums match Ed’s soaring vocals to mean conquering the rough seas, which gradually get calmer. Ed is leaving his worries and his past behind and moving forwards.

Vega:

Another reflective moment as Ed returns to his beloved Martin in a song talking about the devastating news of his wife Cherry heard during the pregnancy and almost broke Ed entirely. He delivers his pain perfectly in the chorus—an emotional track. The track is very downtempo, but the lyrics contrast this with optimism that things will improve for Cherry and the family.

Sycamore:

This is a follow-up to ‘Vega’ with Ed and Cherry feeling relief that the nightmare is over and they can recover from the ordeal. Strings accompany an optimistic but wary Ed as he talks about being by Cherry’s side at the hospital. A clever track melodically because it shows the feeling of optimism and fear, which is what happens with an experience like that.

No Strings:

This is Ed letting go over stabbing piano chords as he expresses what Cherry means to him. After his wife’s recovery, Ed feels she has to know just how much he loves her, and that love is why they made it through.

Hills of Aberfeldy:

Remember when everyone mocked ‘Galway Girl’? I didn’t mind it, to be fair. I found it rather uplifting, but many thought it insulted Celtic music. He is back again with another Celtic song, but it will be warmly received this time. This is your typical traditional Celtic song. No fancy additions like on ‘Galway Girl’. The vocal delivery is that of an old Celtic singer with acoustic guitar joined by bagpipes and marching drums. Sonically, the track is calm, suggesting that Ed finds peace after a rough journey. Another ode to his wife, which looks to the future and ends the album with a message of hope and never fading love.

Song recommendations: ‘Salt Water’, ‘Hills of Aberfeldy’, ‘No Strings’

9/10