Melancholic

Week 46: Kylie Minogue- DISCO

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How ironic that in such a fucked up year, Kylie releases an album choc-full of disco and funk songs? We can’t go out to clubs, attend parties or wedding receptions to dance with one another to these uplifting tracks. That’s quite sad, and I’m sure Kylie would prefer we were all doing that rather than sitting on our arses at home before heading out to get food or go to work. I should have started with an introduction to Kylie Minogue, as this is my first review of her material. This is her fifteenth album over a career spanned almost four decades. 

Talking of her career spanning almost four decades, this record sounds like music inspired by the 70s and the era she began her career, the 80s. “Say Something” is the leading single, a chance for us all to enjoy each other’s company and start living life again. Most of the album was written during the lockdown, and Kylie used a makeshift studio from home to record and edit her vocals. Indeed, she wrote “Monday Blues” about the struggle of doing that (It can be pretty tricky if you are not used to editing your vocals or even instrumentation, for that matter.)

These songs will be heard at wedding receptions when they are allowed to be permitted again. Especially “Supernova” and “Where Did the DJ Go?” are inspired by Nile Rodgers and Chic. Unfortunately, the album has no memorable content such as “Spinning Around” and “Love at First Sight”, but it sits pretty nicely into the generic Kylie song department. No risks are taken, and Kylie sticks to what she knows is guaranteed to sell rather than getting experimental and surprising us all. 

Another thing refreshing was this record doesn’t particularly have any filler. It is all good, full-on disco/funk. Even the more downtempo tracks like “Last Chance” keep your attention and mood at the same level because it is straight out of pop. Kylie co-wrote this album, and though the songs are mainly uplifting sonically, the lyrics are more melancholic as they talk about the rollercoaster of being in and out of love.

As the record closes, Kylie concentrates on adding a character called Mary in “Celebrate You, ” which is based on all of us when we feel sad and depressed. However, the instrumental is uplifting again, so your mood doesn’t shift despite the melancholy. Another thing that Kylie has mastered is her music. Most of her songs are based around the heartache of a relationship ending, but Kylie takes that element of sadness away with her uplifting instrumentals.

Song recommendations: “Where Did the DJ Go?”, “Supernova”, “Celebrate You”

7/10 

Week 44: Bruce Springsteen- Letter to You

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I just had to do a track-by-track review for the Boss:

One Minute You’re Here:

This is just Bruce being alone in a bubble with his soul (This is what I call playing an acoustic guitar in a room all by yourself.) in a reflective mood with the lyrics remembering his friends lost over the years—aptly named.

Letter to You:

The album gets going with this track, and the E Street Band are once again proving that they still have the juice on this intimate and fragile ballad with Bruce, where he talks about what he always was and will remain to be.

Burnin Train:

In a nutshell. Fire.

Janey Needs a Shooter:

You’ll never guess who is on this track. But it does make sense, considering it is his first profession over being an actor. It is Steve van Zandt who played Silvio in the Sopranos. He provides backing vocals during the chorus. I don’t know if he is a new member of the E Street Band, but there are plenty among the original members. It works, though, and both stand out at each point of the song.

Last Man Standing:

Rumour has it, the Boss uses his usual three chords, but this one is leaning towards melancholy as he remembers his former Castilles bandmate George Theiss, and the title reflects that.

Power of Prayer:

A typical E Street Band accompaniment with its trademark saxophone solo. It’s a song ready for when Bruce can finally take this album on the road and have the crowd join in on a hot summer evening as the sun sets.

House of a Thousand Guitars:

I am seeing reviews of this track as the worst on the album when I found it the best on the record. I also found it ironic that the piano featured heavily, and the guitar, the weapon of choice for the Boss, is seldom used.

Rainmaker:

Ah, this is Bruce attacking the American government. It was written during George Bush Jr’s time in charge but has remained relevant to the current presidency of Donald Trump. So far, there have been no political songs on the record that go after the government. It’s good to see that Bruce has still kept his values.

If I Was the Priest:

It’s not one of his best songs, and the rhyming is very basic for someone of Bruce’s ability at songwriting.

Ghosts:

Again, this is another track ready for the road, with the E Street Band putting all their energy into it.

Song for Orphans:

It transpires that this is part of a trilogy that includes “Janey Needs a Shooter” and “If I Was the Priest” and were written when the great Bob Dylan highly inspired Bruce, so these songs were quite obviously written back in the 20th century, rather than just purely new songs for this album. It contains a plethora of words, which is a very Dylan trait.

I’ll See You in My Dreams:

The album doesn’t end on a high note. It is similar to how the album began. Hopefully, this isn’t the last record released by the boss, or this is not a good way for him to sign off. I can’t imagine Bruce timidly ending his studio career.

Song recommendations: “House of a Thousand Guitars”, “Last Man Standing”, “Ghosts”

7/10 

Week Thirteen: the Weeknd- After Hours

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I first heard of Abel Tesfaye in 2013 after listening to a live concert on YouTube, and I remember him for his unique look with his mad hair and crazy spelling of his alias. I was impressed with the songs “Wicked Games”, “Love in the Sky”, and “Pretty” off his debut album and a mixtape that featured his fellow Canadian Drake. Some have said that the debut “Kiss Land” was highly disappointing and didn’t live up to his work featured on the mixtapes from 2011 and 2012, but every album since “Kiss Land” has gone to the summit in his homeland.

Due to the critics panning his debut record, he changed it up for his sophomore record “Beauty Behind the Madness”, which came out in 2015. The best song off that record was the commercially friendly disco funk “Can’t Feel My Face”, which was a very clever way of concealing the song was about meaningless sex and drug use (Listen carefully, and if you’re of a certain age, it doesn’t take a genius to work it out.) There were also songs like “the Hills” and “in the Night” that stood out. For the third album, “Starboy”, the following year, he got Daft Punk on board, which were easily the best two songs on a rather overcooked record.

On his latest record, “After Hours”, Abel is trying to make music that appeals more to the fans of the 1980s with the sound and traditional melancholic lyrics.”Blinding Lights”, which is the lead single off the album has been number one for the last five weeks in the UK and sounds like nothing he has ever done before. It’s definitely a track that will appeal to the fan of 80s music. Then, the other track that sounds different from the norm is “Hardest to Love”, which sounds like a commercial version of drum n bass, and I could certainly hear it being included in a vocal section of a mix by Nicky Blackmarket and the like. I’ve heard that “Too Late” sounds like a UK garage vocal song, but I honestly disagree; I didn’t hear anything remotely like any form of garage on it, and the last song that sounds original, “Save Your Tears”, is very experimental. If I didn’t know I was listening to the record, I would have mistaken it for a new track by MGMT.

What about his lyrical content and song subjects? Have they changed much? Well, not really. He does venture out, but it’s for a short time. Although on tracks like “Faith” and “Save Your Tears” (The latter, I have mentioned regarding the originality of the sound.), he is reflecting on what happened in past relationships and apologising, but he can’t do it without being self-indulgent. His reflection and apology appear like it is to him rather than the ex-girlfriends. The record is entirely egotistical, too, as he brags about fucking women in the studio and then proceeds to mock the plastic surgery they have had done on their faces. He might pause and say, “I don’t criticise” when he talks about that on “Escape from LA”, but it’s more about him once again congratulating himself for his mistake of mocking those women for their physical appearance rather than being sincere.

You may be thinking, after reading my review, “Is it worth even listening to?” the answer is yes. This record is very much what got his name out there originally. It has a consistent story, the songs all fall in together, and although the record may have 14 tracks of pretty much the same with its production, it does change for three songs, so that’s something to look forward to with his next album because I can’t see him playing safe all the time. The deluxe album has 20 tracks, but the additional 6 are just remixes. My other laptop is closed, so I can’t be bothered to go and check on the remixes (I think it is the singles so far.). “After Hours” differs from the rest of his records and offers a preview into the next phase of his career. 7/10

Week Fifty-One: Eminem- Revival

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eminem-revival-cover

Here is the track-by-track review of his 9th studio album:

Walk on Water: 

Gone are the days (it appears, anyway) when Eminem would open his records with a sarcastic public address announcement for a short comedy skit. This record begins with a piano playing minor chords (To add to the sombre atmosphere.) and a soaring chorus sung by Beyoncé that one would find at a gospel Church congregation. The biggest surprise, though, is that he is talking in a severe manner on this track and even asks himself if, because of the albums that have gone before, has he pushed his levels too far and if he can still reach them. My theory behind this introduction is that maybe, he has heard and taken on board all the criticism of his material since his first three albums. Okay. Maybe, you haven’t heard of the debut album from 1996, “Infinite”? But you have heard of the albums that set him onto the world stage. “the Slim Shady LP” from 1999 and “the Marshall Mathers LP” that followed it in 2000. Whether he or you like to admit it or not, those albums propelled him and made you pay attention to what he had to say, no matter how controversial. Indeed, even in the second verse, he mentions that after”the Marshall Mathers LP” and feels that, although initially, he is pleased with his material, it just doesn’t surpass nor match the work of his third album. He sounds discouraged and concedes that the records after his third album are just “garbage”. Rick Rubin is the Producer chosen for this project, and already, you can hear this album is more Johnny Cash sounding than his Beastie Boys work. Despite this, Em doesn’t seem too bothered about it and continues to the Johnny Cash-inspired production. Then, at the end of the track, Em seems to have adopted his “Fuck you” attitude and bellows “, Me and you are not alike, Bitch, I wrote ‘Stan’!”.

Believe: 

So…We have discovered at the end of “Walk on Water”, we have found that Eminem is now ready to go to war on this record, despite feeling downcast and being his own worst enemy for most of the opening track. This track, however, is sad and tragic. It sounds like a rapper approaching his 50s trying to appeal to the children who listen to the singles chart in the now, but he still raps with the thug in him and talks controversially about politics. Despite the contemporary feel of the music, this song’s controversial topics remind me of “the Way I am”. However, he mentions how he enjoyed the chase in his younger days, but now he is older, he finds it hard to remain hungry because that chase is no longer his priority, and he has achieved a lot thus far. Plus, he is now financially set up for life. The same goes for most songwriters and artists once they have passed that point. Let’s hope the Eminem of the late90s and early 2000s remains on this record, though.

Chloraseptic: 

This is Eminem at his finest, and he even brings along rap battle MC in the shape of Brooklyn’s, Phresher, who has said that Eminem wanted him on this track because it is “Raw as fuck”. Indeed, Eminem rolls back the years and, you can hear signs of “Guilty Conscience”, “Criminal”, “Kill You”, to name three ultra-violent tracks. Indeed, the fucking nutcase adopts his Slim Shady persona to perfection as he gives a detailed account of how he will kill you with your book of shit rhymes by ripping off the wire. An old friend, Kon Artis from Eminem’s group, D-12, features on production.

Untouchable: 

Fucking hell, he isn’t playing on this record. This is Eminem wilin’ out. This time the subject is the state of American politics; in this six-minute scolding track, he uses characters. For the first three minutes, he takes on the persona of a racist white police officer, explaining how he targets black individuals and abuses his authority to terrorise black communities. The beat used for this persona is very guitar-based. Then the final three minutes switch to a moody piano loop, where he raps with the persona of a modern-day black American and how he feels about himself and his community being targeted because of their skin colour. Eminem plays this role brilliantly as he launches scathing attacks on police brutality, segregation, employment discrimination and the hypocrisy about America being ‘the land of the free’. Em proceeds to attack the current president and his party without mercy. Indeed, he may have lost some fans and upset fellow musicians in the process, but does he give a fuck? I very much doubt it. Em always falls on his sword and fuck what you think while flipping the bird in your direction, either metaphorically or physically.

River: 

Emile Hayne produced the track and was a case of the featured artist, Ed Sheeran, who recorded most of the track on a trip to Australia in March 2016 on Russell Crowe’s farm. Ed plays his trademark instrument, the guitar, then the drums and the piano. When Ed finished recording the track, he sent it off to Eminem and didn’t receive a reply

or any form of communication for several months. Once he did, the final product depicts Ed playing the persona of a liar and a cheat, which is then followed by Eminem talking about taking advantage of a Woman, using her for a one-night stand, and regretting the fact it happened, because he never wanted her in the first place, but is being consumed his guilt.

Remind Me (Intro): 

God knows why this couldn’t have been included in the following main track. It is a short 27-second introduction to the entire track as follows. We hear drums, an angelic choir, and Em talking about how a girl makes him do things he wouldn’t normally do. The track ends with some short scratching by a DJ.

Remind Me: 

This track uses a sample of Joan Jett & the Blackhearts’ “I Love Rock & Roll”. Does it still make sense that the short intro was used, as the main track is rock-based? No, not really. In this track, Slim Shady reappears as he hits on a Woman with a big arse and big fake boobs, but this time, Slim Shady is a lot more polite as he does, rather than resorting to his usual upfront misogynistic and sadistic frame of mind. The track is more comedic than the typical psychotic type of tracks his alter-ego is known for.

Revival (Interlude): 

Ah, for fuck’s sake. We finally get to the title track, and it is nothing but a pointless interlude. Remember what I said in my previous article? I can’t stand these: pointless throwaways where a track that wasn’t selected could have been given another chance. Over a piano riff reminiscent of Adele’s “Someone Like You”, we can hear a female voice singing about rising from the ashes. The female vocalist Regina Spektor gave a short sample of her “Human of the Year” track. Wonderfully sung, but still a very pointless interlude.

Like Home: 

Remember when Eminem used to attack homosexuals during the early part of his career? On this track, he stands up for them and supports their inclusion and transgender in the United States military. Once again, he proceeds to attack the current president, and this time, he takes it further than his policies and goes after the president’s physical appearance, saying that he looks like a canary with a beak. He accuses the president of watching Fox News and constantly repeating himself and how he uses Twitter to make political decisions that must be addressed in the Senate or the White House. He also laments about the appearance of the current president in the “Shady Convention” mock political video, which was used to promote Em’s Shade45 satellite channel. He says that he wished he had never included Donald Trump in the video and should have had the foresight to know that he was about to tear apart the values that America stand for. Em still believes that America is the greatest country to reside in and the people need to combat what is happening in the current climate. Although, he thinks the current President doesn’t give a fuck about the people and that there are more than enough people in America against the president’s policies and can rebel against the system. Alicia Keys features.

Bad Husband: 

The title says it all. Em talks in depth about his explosive relationship with ex-wife Kim Scott (Who he has aimed at on several albums. The worst is “Love the Way You Lie”, where he sets the house on fire in the video with Kim in it. Although, he has done far worse lyrically on many of his albums.) and their daughter, Hailie. The song structure sees Em rap to both of them on alternating verses, first of all in an aggressive manner and then in an apologetic tone, where he regrets using them and airing his family disagreements in the media. He also mentions that despite their dysfunctional and violent relationship, it hurt him badly when he divorced and walked away from Kim. Indeed, he compared it to sawing off a body limb—X Ambassadors feature on this melancholic track of conflict and reconciliation.

Tragic Endings: 

This remains on the previous track’s subject of Eminem’s strained relationship with ex-wife Kim. He talks about how he still finds it hard to cope with their divorce, and the feelings remain. Even though he would prefer they got back together, he knows that Kim would hate for him to find happiness with her or someone else and takes great pleasure in watching him suffer after the way it all ended. Frequent collaborator Skylar Grey features on this (She also wrote the opening track on this record.). Her writing is consubstantial with Em to let the listener know how Em feels/felt about their troubled relationship. This line sung by Sklyar sums up the relationship entirely “I’m dying to breathe, and all you do is strangle me. What a relief.” A very powerful message that tells you what that relationship was like. Kim prayed for Em to kill her to set her free. Luckily, it never came to that, but that line alone is enough to tell the story.

Framed: 

Ah, this is once again the real Slim Shady standing up (No awful pun intended.) Remember “97 Bonnie & Clyde” from the 1999 album “the Slim Shady LP”? This track follows that same route, as Slim Shady explains how to kill someone and get away with it in extreme detail while he takes the production back to those days with guitar licks and a repetitive drum loop. He mentions that when killing females, you better wear three layers of clothing, or you will not succeed and end up facing life imprisonment or life on death row as it is in America. Once again, Donald Trump has shots fired at him as Slim Shady has his daughter Ivanka in his boot but has no recollection of how she ended up there (More than likely dead, I presume, as this is Slim Shady.). The track ends in denial, with Slim Shady half-heartedly saying how the missing person was nothing to do with him and that he was, well…framed.

Nowhere Fast: 

Em seems to adopt his alter-ego more as the record goes on. On this fast-paced string section track, he goes after other rappers (No names mentioned at all.) and says that despite his age, he is far from finished in the game and arrogantly expresses that he is better now than when he was at the peak of his powers. He believes he is just starting to reach his prime, and all the youngsters in the modern era are easy prey for him. Kehlani accompanies him and sings about living the fast life and dying young. Something that Eminem somehow managed to avoid. Yes, he lived a fast life, but how he didn’t die young, either through family members, psychotic fans, drug addiction, or his controversial views, is just a mystery.

Heat: 

I was quite shocked on this track because he managed to find common ground with the current president rather than attacking him relentlessly, which has been the central theme of this record. Albeit only for a short time. He talks about grabbing Women by their pussies and agrees with Donald, but that’s it. That is the only time he is mentioned on the track after that. He pays homage to producer Rick Rubin but in a humourous way. He says the female at the song’s centre is hot enough to melt Rick’s beat. Rick’s production on this sees him return to DJ scratching and guitar distortion that served him well on “the Marshall Mathers LP 2” track “Berserk”. The sample used is the introduction featured on the film soundtrack to Boogie Nights (Hence the title “Heat”.) The track even ends with a brief dialogue from Mark Wahlberg’s character.

Offended: 

This track is an intent by him to get into the Guinness Book of World Records in terms of the numerous syllables used and the ferocious speed of the verses. And once again, he is not afraid to talk about controversial matters going after R. Kelly, Donald Trump, his daughter Ivanka and the first lady, Melania. This is Eminem from those early albums, which made people and subjects the target of his songs, and fuck the consequences. Indeed, he is still angry that the current president hasn’t acknowledged his diss about him at the BET Awards. He talks about attacking Ivanka while he hits on Melania to rile the president into responding. Em even takes a moment to show respect to Illa da Producer, who made this saying that the drums and hard snares bring out the worst in him.

Need Me: 

I loved the collaboration on P!nk’s “Revenge” on her latest album “Beautiful Trauma”. We saw Eminem at his most hateful and P!nk following suit. Alex da Kid is again on production as he is on most of the record with Rick Rubin (Illa da Producer, not much.). On this power ballad, his percussion is accompanied by P!nk’s two verses and a chorus before Eminem comes in. The biggest surprise is that he gradually harmonises over her second verse. I can’t recall any track where he does this when collaborating with female singers. This track has a waltz feel where he goes mad about being in a dysfunctional relationship and how she reminds him of his mother, yet they are made for each other.

In Your Head: 

I never saw this coming, but a sample of the Cranberries’ 1994 hit “Zombie” is used and remains underneath the beat throughout. This track features a producer yet to appear, MC/Producer Scram Jones from New York. You might not know the name per sé, but you know his work. He has been working with Ghostface Killah and Jadakiss since the turn of the century, and this is his debut production with Em. Em references previous album comparisons and how maybe after so many wrong decisions in his career, he should have called it a day after his 2010 album “Recovery”? Which saw the Eminem we all became fans of re-emerging from his cheesy pop slumber. Let’s face it who liked songs like “Without Me” and “Lose it”? Utter Pop-friendly shite.

Castle: 

This one reminds me of “Stan”. You can hear the pencil writing on the paper in the sound effects, but indeed, he is also delivering the verses like, he is writing a letter. Rather than adopting a psychotic and obsessed fan, he plays himself and writes a letter to his daughter, Hailie. The first letter is written before her birth in 1995 (Echoing 2Pac’s “Letter to My Unborn Child” premise.), the second a year after her birth (Again, repeating 2Pac/Makaveli tha Don’s “Words to My First Born”.) and third on her 12th birthday. Hailie was twelve in 2007, a year that you would think he would want to forget as he was gradually slipping into darkness after an overdose of methadone almost saw him die. Still, he decides to sign off the letter as he would have done if he did write the final letter after overdosing and saying goodbye. You could say pretty much a suicide note included. Skylar Grey features.

Arose: 

The final track uses a loop taken from the title track of Bette Midler’s 1979 album (She also starred in the film.). This track is a continuation of the narrative of the previous track. Em talks candidly about that overdose addressing his family and former D12 member, Proof, whom he was close with until his demise in 2006. Em says that the death of Proof was the catalyst for his world falling apart the following year. Returning to the continuation of “Castle”, the third verse features on this track and as the track ends without warning. This time, however, it has been altered. Em throws the methadone down the toilet, complete with the sound effect of dawn and the toilet flushing.

Overall: 

This is the Eminem/Slim Shady I have missed for a decade. Save for the 2003 film “Eight Mile” soundtrack, loosely based on his early beginnings in the rap game. There hasn’t been much that has shown his controversial and, one might say, ‘Real’ side. I could not stand the utter cheese on his album after “the Marshall Mathers LP” up to “Recovery”. That’s a decade of shit music. He made me want to listen again after 2010’s “Recovery”. That Eminem, who wasn’t afraid to speak his mind, re-emerged, and it was welcomed. I don’t care if he has rediscovered his controversial nature; that’s what he is to me. I prefer him to act like one of his idols 2Pac, rather than bowing down to the record executives and making chart-friendly hits. Fuck that. That isn’t Eminem, and it certainly isn’t his alter-ego Slim Shady, that’s for sure. This album was fucking brilliant.

I loved all the controversial topics featured and his targeting of popular figures who deserved it. I was a big fan of his first three records, and this harks back to those days for me. Although I have mentioned in previous articles that artists/bands are free to express themselves in any way they choose, it doesn’t really work for Em. Yes, it was nice for him to show his more vulnerable side on this album, but he did it in a way that didn’t use cheesy beats. Rick Rubin and Alex da Kid were amazing on production, along with Skylar Grey, Alicia Keys and Phresher as some of the collaborating artists. I look forward to what Eminem has on his 10th studio album. He’s made me restore my faith in him. 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

Week Forty: Shania Twain- Now

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Swingin’ with My Eyes Closed: 

We start the record with a typical Shania Twain track that fits into her 1990s sound with a short guitar riff. Still, rather than the guitars playing throughout the song like they would have done back then, they gradually fade before you can hear what sounds like steel drums taking centre stage and taking us somewhere else that we would never expect Shania to take us with. I’ve never listened to a Shania Twain track so far removed from the country as this. It’s like a country and calypso-infused sound.

Home Now: 

Ah, now we are back to the typical Shania Twain sound as her country roots come to the fore with this track that features banjos, fiddles and guitars. A song that you would hear in Nashville bars.

Light of My Life: 

As you can guess from the title, this track is about romance and is sung by Shania in narrating mode rather than a personal experience of hers (Who knows? Maybe it is her own experience.), where she takes on the role of a secret admirer expressing their feelings to a crush who is blissfully unaware. You could say that the song is a bit like the Police’s “Every Breath You Take” as it is rather sinister and unsettling that the secret admirer will reject all other offers in the hope of getting with the crush who has no idea of their existence. The song is wrapped around drum loops and the melancholic chords associated with songs such as this (Or, in the case of this track, just the one in Em.). The chorus, though, sees Shania deliver a fantastic hook that has been absent for twenty years in her songs of late.

Poor Me: 

This song is very personal, and Shania proceeds to tell the story of her divorce that happened almost ten years ago and how her heart took ages to sew back together (Naturally). There are some powerful lyrics in this one, and it even mentions that she caught him out lying and how he could leave Shania for another woman. In the short chorus, she seems to be forgetting about all the pain and asking the listener, who must be the person behind the bar hearing this story, to pour her another. So, yeah. This song is seen from the perspective of Shania drowning her sorrows and pouring her heart out to the person behind the bar who keeps filling up her glass when she requests.

Who’s Gonna Be Your Girl: 

I loved the background vocals in this sappy love song that opened with tremolo guitar and built up nicely into the very harmonious chorus.

More Fun: 

Another track that showed Shania’s versatility as an artist. This track would look good on Broadway and in London’s West End with thumping piano and Cabaret sound throughout. I can’t imagine it ever being a single because of this, but it does work, and who cares what those who dictate their record collection by what’s in the mainstream charts think, anyway.

I’m Alright:

 It looks like a follow-up to “Poor Me” as Shania foretells what unravelled after the divorce and breakup with her ex-husband while a soft acoustic guitar accompanies a thumping drum beat. The actual moment of the song, though, is when the sound of thundering hand claps meets the chorus, which she does acapella, as you would hear at a gospel church service.

Let’s Kiss and Make up: 

Well, another song that showcases her will to experiment as we now hear a track with a reggae and calypso sound that makes you feel that you are on a Barbadian beach until you are greeted by the guys you hear on the Doritos advert in the shape of Mexican band, the Mariachis as you can listen to all the horns ring out in the chorus.

Where Do You Think You’re Going: 

This track could easily feature as part of an official soundtrack with its angelic chorus and the fact it is a piano ballad with sublime vocals by Shania.

Roll Me on the River: 

Wow. Taken by surprise with this song. Don’t forget that Shania is originally a country artist, but this song should have Ladysmith Black Mambazo with its sounds of Africa.

We Got Something They Don’t: 

A track very much harking back to a vintage Shania love song. You have thumping percussion, a smooth bass line and many horns. I also noticed a very Michael Jackson-esque harmony on the outro, and you have to wonder, is Shania paying some homage to Michael?

Because of You: 

Yes, it is named after a Kelly Clarkson song, but no, it is not in the same vein. Instead, Shania has gone for a sentimental love song with this. It is dedicated to her current lover and sees her finally recovering from the heartache of a failed marriage. She mentions in the lyrics, “Because of you, I’m me”. This suggests that she has finally rediscovered herself through her new flame after all that happened. The song is completed with soft acoustic guitar playing, and I imagine that the drummer used brushed drumsticks, as the drums are soft, too.

You Can’t Buy Love: 

A song about how to deal with and overcome all those tricky situations we all incur at some point along our road in life. It features hand claps, several harmonies and a jolly chord progression that envelopes itself in the primary melody.

Life’s About to Get Good: 

As you can see from the title, the premise is that Shania is walking away from her past and heading towards the here and now. This track was released to tease the album, and I can see why that was. This song is not only uplifting and full of optimism but is undoubtedly ready for the arena when she heads out on tour with its anthemic country hooks accompanied by a rather unusual taste of electronica pop. Looking at my research, I also discovered this song scored her a first top 40 billboard chart hit in well over a decade. Did Shania have a premonition when she wrote and recorded this track?

Soldier: 

Ah, another song that has a familiar theme across the pond. A loved one expressing how much they miss the soldier who has been away on a tour of some war-torn country for longer than the narrator here finds necessary (Is any war needed? In my own opinion, they are all fucking bollocks created by idiots who want to steal another country’s oil. Too much? I don’t fucking care. That should be accurate for those who are wide awake. Anyway, back to the song and off politics (How ironic. The song is political, anyway.), this heavily keyed piano ballad and Shania’s emotional and soaring vocals completed with strings could well be used as a track for a film about the subject or maybe even a drama on HBO? It’s a highly emotional song and does more than justice on the subject.

All in All: 

The title suggests that this track summarises all the feelings she has laid bare on the record. Indeed, it is her reminiscing and looking forward to all the good and bad times she will cross along her path. This coming-of-age track features a nice guitar riff with an eighties feel. I was surprised that the record ended in a mid-tempo vain when I was expecting a very soft piano ballad.

Overall:  Fucking hell. We discovered an awful lot about the trials and tribulations of Shania on this record. I will not lie that some of the tracks affected me (So what? I get emotional. I write poetry, so I can relate.). The lyrics were both uplifting, emotional, melancholic and eye-opening. Especially “Poor Me”, where it’s all aired about how she felt

during her divorce and the events that lead up to it. I was surprised to hear Shania deviate from country and rock to venture into reggae, calypso, gospel, rnb and electronica. Not to mention the sounds inspired by Africa where it would have been wholly appropriate to feature Ladysmith Black Mambazo, Labi Siffre, Baaba Maal, I could go on and on (Yes, I know my African musicians and bands. Surprised? Don’t be. I have a very eclectic taste.). It certainly was a departure from what we all became accustomed to during the early years of her time in the music industry. Some tracks could feature in films or the type of dramas you see on HBO. Now, that does show her diversity. She should have ended the record with a light piano ballad, which would have been perfect. As we know, the final track is titled “All in All”, so when we summarise events that have happened, we tend to talk about them calmly and soothingly rather than raising our voices in anger. That would have made for a better ending. All in All (Excuse the pun.) Shania is back and more than capable of producing another brilliant album when she is ready to return to the studio. A side note from this, Richard Ashcroft was on Twitter talking about how Liam Gallagher’s debut album was number one. I corrected him and said that was currently Shania Twain’s record, to which he replied, “That don’t Impress Me Much”. 9/10

Week Thirty-One: Arcade Fire- Everything Now

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Everything_Now(Continued):

An exciting start to the record. This is more of a short intro as it only lasts for under a minute and is sombre-sounding. Why the title has an underscore? I haven’t got the faintest clue. Arcade Fire may be asked about it during an interview.

Everything Now:

I know the first track was called the same name with the “Continued” added (Not forgetting the odd underscore.), but this is the title track and the official start of the record, if you will. The lyrics, “Every inch of sky’s got a star, every inch of skin’s got a scar”, certainly jumped out at Me. Yes, the track is quite upbeat, but the lyrics that encase it are cynical. The song may be positive, as mentioned, and the lyrics profound, but the message contradicts the joyful sound with lyrics like, “Every time you smile it’s a fake” and “Stop pretending you’ve got everything now”. It is attacking the dreamers who have yet to achieve their goals in life. The most bizarre thing is that we have a Coldplay-esque sound going on with the piano, strings and a choir, which works quite well, and it’s catchy as fuck.

Signs of Life:

Well, this is very controversial, to say the least, with its sexist views. The story told in this song is about a man who stays out late every night drinking. He thinks that “Love is hard, sex is easy”, as mentioned within the lyrics showing that he would rather shag every woman that comes his way and objectifies them than go through all the hassle of love because he just can’t be bothered with it. There’s a Star Trek/Austin Powers seductive bassline to further add to the effect of the theme, though towards the end, the song goes rather odd as you get some Michael Jackson-inspired instrumental.

Creature Comfort:

Another very dark track is evidenced in these two lyrics, “Some boys hate themselves, spend their lives resenting their fathers” and “Some girls hate themselves, stand in the mirror and wait for the feedback”, all delivered by Win Butler with a raging yet melancholic vocal. This could also be about Win recalling the days when he was bullied at school, and he is drawing on his own experiences with the delivery and the lyrics chosen. Both of these lyrics reflect society and are quite philosophical at the same time. I’ve heard listeners saying they are not fond of this track because it is nothing but patronising as Arcade Fire is wealthy enough not to be concerned with any of the subjects they talk about, but it’s a good track, so I don’t care what they think.

Peter Pan:

Well, just like the theme, the music that accompanies the song is very Disney-esque. It would have been great if Arcade Fire had been around when Peter Pan was first released because the music would have fitted the film perfectly. Win also has been a fan of the film and the book since childhood. He even drops in the twee line, “Be My Wendy, I’ll be your Peter Pan”. This song is also about the innocence of youth and being carefree, which we all crave as we get older because, in Never Never Land, we are wrapped in a safety blanket from all the bullshit we eventually have to face after childhood.

Chemistry:

Different from the Semisonic track with the same name. Again, minus the creepy lyrics, this song would be suitable for a children’s television programme with its pop reggae.

Infinite Content:

This would be the name used for the current tour. I didn’t think much of this track. It is very short and seems like an interlude.

Infinite_Content:

Okay. The same song title as the preceding track, but with an underscore (Why???). Again, not much effort has been put into this track. Either Win ran out of subjects to discuss when this was being recorded in the studio, or he couldn’t get any lyrics to fit around the music. Either way, it feels like another interlude.

Electric Blue:

A track that seems like a nod to the late Prince (Or symbol or whatever you want to call him. I prefer Legend.) Why? Well, with lyrics like, “Cover my eyes electric blue, every single night I dream about you”, you can hear Prince writing a song like this, and the whole feel of the track is very Prince-esque.

Good God Damn:

The riff is a bit of eerie disco. The lyrics suggest this song could be about relaxation, where we feel most relaxed when listening to our favourite record in the bath.

Put Your Money on Me:

I enjoyed this song live. Even though it is over six minutes, it works well live, but on the record? It may be too long.

We Don’t Deserve Love:

Another cracking song played live with Win and his wife Régine complimenting each other well. This track is a bit heavy with its religious undertones and your mother lecturing about the mechanics of love and how you don’t deserve it.

Everything Now (Continued):

It’s just what it is, an outro with an easy-listening string section to close out the record. This track is nearly two minutes and thirty seconds longer than the intro.

Overall:

Hmmm, well, I did enjoy the record, but I prefer hearing the band live. Arcade Fire has it when they play live, but I need clarification on the studio-recorded material. It can be pretty condescending, sexist (Which is bizarre considering there is a lady in the band, and that’s Win’s wife Régine) and heavy-handed with subjects of suicide, cynicism and religion. But that is the world we live in, and we should respect Arcade Fire for not being fake and addressing such sobering issues. Like Muse, though, I feel that Arcade Fire save their best for the stage. It’s quite a shame, as I was looking forward to reviewing this record, but I have been disappointed. If I did live reviews, then Arcade Fire’s review would be stellar.

7/10

Week Twenty-Four: London Grammar-Truth is a Beautiful Thing

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I liked this album the moment I heard it. The songs are different from their last record, where they were mostly pop and catchy, which is a good thing because I like music that dares to challenge the status quo (No pun intended.). It shows that the band has grown up and taken that leap to try something new, making for a very mature-sounding record. Don’t get me wrong. I did like some of the songs from their debut record, like “Wasting My Young Years” and “Strong”, after being introduced to London Grammar while watching “Later…With Jools Holland”.

It is quite hard to fathom how Hannah Reid dresses when an angelic sound comes from her mouth. Without her, would London Grammar be as successful? Who knows, she is an essential member and at the epicentre. This record has given her more of a chance to shine through with her vocals that were less prominent on the debut record, and in turn, that decision by the band has paid dividends.

Forget the fact that this album lacks any actual stand-out songs that “If You Wait” had, but at the same time, it’s also a good thing because it is more intriguing for those who don’t just see music as pop. Therefore, the record entirely is a great listen. So what if the tracks are mid-tempo, elongated and, on the whole, melancholic? I would instead a mature-sounding record than the fucking shit you hear weekly in the singles charts. This is why album charts are still crucial to the public and the artists because that is where genuine talent who can adapt is found. It really is an excellent record and has serenity in abundance.

Maybe not the kind of album people expected of London Grammar after their debut, “If You Wait”, but the band has shown maturity and moved forward with their ideas and sounds. However, they still have original features that got everyone’s attention, so those who loved “If You Wait” won’t be disappointed with their follow-up. Even if you don’t like it initially, you will grow to love it. If vocalist Hannah is the point of interest on their third album, I will look forward to it. She is certainly the definition of “Don’t judge a book by its cover”.

8/10

Week Six: Elbow- Little Fictions

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Little Fictions

Since their formation in 1990 under the name of “Mr Soft” (They changed their name to Elbow in 1997), it is no secret that the band has progressed and improved vastly, with critical acclaim to back this up. They didn’t get their big break until 2008’s “the Seldom Seen Kid”, which firmly set their music career in stone. “Little Fictions” is the seventh album in their arsenal, and they have decided to produce it as a band rather than work with a producer.

The Album opener, “Magnificent (She Says)”, defines the wall of sound Elbow is known for. Guy’s soft and kind vocals, a string section, polished drums and an organ. There is, however, a surprise for the listener with the addition of a synthesiser that is heard throughout the duration of the song. “Gentle Storm” has Guy’s vocals in a melancholic tone over ringing piano chords and nothing much else. The track needed more, and I couldn’t help but feel that the listener would be disappointed with this track. It feels like the band had a “that’ll do” attitude about “Gentle Storm” and didn’t feel the need to improve it any more, although I think the track is half-baked. The recurring theme I noticed with “Little Fictions” is that the drumming is repetitive. Probably the track that stands out the most is “Little Fictions”. The track is introduced by a gothic-sounding piano, which leads into jazz before ending with the typical string section that Elbow’s listeners have become accustomed to. This is the only track I felt that Elbow could venture out of their comfort zone and try out other sounds that they otherwise would not even think about for fear of losing their identity.

This album had the potential, but the focus is once again on repetitive and tidy drumming and Guy’s vocals, which don’t give a platform for the other instruments and make them redundant. The album, therefore (despite being self-produced), is a typical Elbow sound with little imagination used to show any other direction. Definitely another album for the hardcore fans as they will enjoy it regardless, but to the casual listener, it’s another album of Elbow playing it safe, which pretty much makes their venture into self-production void as they didn’t really try out anything of the ordinary

1/10