Piano

Week 37: David Gilmour- Luck and Strange

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David Gilmour returns nine years after his previous solo album. He announced his return with the leading single ‘The Piper’s Call’ a while ago now. “Luck and Strange” is David’s fifth solo record since he embarked on a solo career in 1978. Of course, he was also in Pink Floyd back then and has been in sporadic reunions. Many have said the Pink Floyd albums he did without one of the founding members, Roger Waters, are nothing more than David’s solo career concealed behind the band’s name. Especially “The Endless River”. I bought that as a Christmas present for a family member. They were left unimpressed as it was full of guitar solos and instrumentals. The only track with vocals on was a soundbite of the late Stephen Hawking. I have heard the record and concur that it is just David performing guitar wizardry.

I find it quite odd that after 46 years as a solo artist, David has just released five albums. Okay, he has done records with Pink Floyd, but even they have been quite lengthy album-to-album. I also found it rather bizarre that he appeared on Later…with Jools Holland in the ’90s when he wasn’t on tour or releasing any material. His estranged former band member Roger Waters hasn’t released many himself, with 4 in over 40 years. Is this a way of signalling yet another reunion? They seem not to care that much about releasing their own material. Especially in the modern era, when promoting an album via a tour is necessary. Or is it a case of them needing each other to bounce ideas off but being too stubborn to set aside their differences?

As much as my political views do not align with David’s or the fact I wasn’t born with the fine bone china spoon in my mouth, I will not let this blur my judgment on how great a guitarist he is. Besides listening to him, whether solo or with Pink Floyd, the way he plays is effortless. He doesn’t even look like he is concentrating. He is that smooth. My favourite solo of his will always be from ‘Comfortably Numb’. His axe-manship is also easy to define. It doesn’t matter if he is collaborating or not. You know it’s him. I cannot recall when I first heard Pink Floyd, but I remember seeing this really cool sleeve of “Dark Side of the Moon” and thought I’d listen, and it remains one of my favourites. I loved listening to it when I was baked. It didn’t encourage me to seek out David’s solo work; I just wanted to do it anyway because I found him to be a great guitarist.

His next solo album, “About Face,” was released in 1984, and it is considered his best by his fans and peers. Although he wrote most of the songs, he co-wrote a few with Pete Townshend. Returning to his relaxed approach to releasing albums, his follow-up was an astonishing 22 years in 2006 with “On an Island,” during which time he was chastised for using his wife as the songwriter. 

Of course, it would take another nine years before he released his third album, “Rattle That Lock,” another record that received scathing reviews from the critics. ‘In Any Tongue’ was one of the few tracks that was any good. I imagine the critics savaged David again because he employed his wife for songwriting. However, it’s important to note that ‘Rattle That Lock’ was a vast improvement on “On an Island,” a sign of hope and optimism for the future.

Another nine years after his fourth album is “Luck and Strange”, which I have enjoyed listening to so far. It seems David has regained his hunger, and it was well worth declining Noel Gallagher’s request to do the solo on ‘Easy Now’ because he was busy recording this. Again, his wife returns as lyricist, his son on backing vocals, and his daughter takes lead vocals towards the end of the record. I actually think it’s the last track, but it has been over a week since I last listened, so my memory hasn’t been jogged.

Hindsight is a beautiful thing, and maybe I should have sought out the extended edition, which has an additional two tracks that are instrumentals. David isn’t a strong vocalist, but he is superb when he lets his guitar playing do the talking. The opener is called ‘Black Cat’ and is your quintessential David Gilmour sound. ‘Vita Brevis’ is a brief acoustic track over an album brimmed with long tracks that features sudden silence before going back into it. The final track is an extended version of the title track. It is dubbed ‘Luck and Strange Original Barn Jam’. This appears to be added as filler, but it’s David with his band having fun and goes on for 12 minutes. The guitar playing is once again effortless.

On the shorter version of the title track, David has added the keyboards of his late bandmate Richard Wright. This is a beautiful and nostalgic tribute to him. Does it sound like Pink Floyd for this reason? It probably does, invoking a sense of nostalgia. However, I find that David’s solo material is more removed from the band.

‘Dark and Velvet Nights’ is another highlight with organs and an ear-bursting sound. ‘Scattered’ has a piano solo, and you would expect David to follow it up with a guitar solo on this progressive blues track, but instead, he starts singing. ‘A Single Spark’ is a ballad with David at one with his Fender Stratocaster. I can just imagine him closing his eyes and falling into a trance as he plays effortlessly.

I feel ‘Between Two Points’ with his daughter Romany doesn’t get the love it deserves. The penultimate track addresses misogyny with lyrics written by her mother, but that isn’t why I like it. I like Romany’s vocals on this family affair track backed up by her father’s almost vocal-like axe-manship. ‘Sings’ is an acoustic ballad, which isn’t all that, I’m afraid. It’s a bit bland for David’s calibre. ‘Yes I Have Ghosts’ is a folk track over an acoustic that might not please the purists. The record, which I was shocked to see usurp Oasis, is…I don’t know. I love his solos and overall playing, but there isn’t a punch to it. The lack of ‘punch’ in the record, in my opinion, is due to the lack of dynamic changes and the consistent mid-tempo pace. It is mid-tempo to a plod. There’s not much change in the tempo—nothing to really get you moving.

In conclusion, I would encourage you to savour David Gilmour’s sublime playing and effortless solos. This is the heart of the record, a true reflection of David Gilmour’s artistry. The album itself is a typical display of his carefree attitude towards recording, a trait he often exhibits. He hints at a follow-up after the tour. As I said, this is a celebration of his guitar mastery, above all else.

Song recommendations: ‘Black Cat’, ‘Between Two Points’

6/10

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 32: Chappell Roan- The Rise and Fall of a Midwest Princess

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Week 32: Chappell Roan- The Rise and Fall of a Midwest Princess

I have to confess I didn’t know much about Chappell Roan until I listened to the debut album. All I knew is she was supporting Olivia Rodrigo on her “GUTS” tour, and that her stock has risen since that has happened. It is also worth noting the record was released last year and didn’t fare so well. It is amazing what exposure on a grand scale can do, though and it certainly has for the Missouri vocalist. Anyway, here is a track-by-track review:

Femininominon:

The opener’s first verse has quite a powerful message about being in love with someone online and how it seldom works. This is then followed by a bombastic chorus with synths and sublow bass. It showcases her ability to switch up her emotions.

Red Wine Supernova:

Ever since the unique charm of ‘Champagne Supernova’ by Oasis caught my attention, I’ve found myself drawn to songs with similarly quirky titles. This uptempo-pop track, unlike its melancholic counterparts, exudes a unique charm. Its tempo perfectly captures the exhilarating feelings of a new relationship, where everything seems to be on an upswing. The synthesiser and the artist’s witty and cheeky lyrics add a distinct flavour to the song, making it a delightful listen.

After Midnight:

This one is quite a personal track. Chappell came out as a lesbian and is worried about her parents reaction. She also feels shame for not taking life too seriously and enjoying it.

Coffee:

We have reached a moment of tenderness and quiet on the album with this piano ballad. Her melancholic lyrics about moving on after a breakup are matched by her soft vocals reflecting that heart-sinking feeling.

Casual:

Remember those power ballads that were popular in the 80s? Well, this is one. The mood has drastically shifted as Chappell ups the tempo of this emotional ditty. The topic this time is about having your profound feelings for your lover dismissed. The song clings on to optimism that their perspective will be the same as yours, and that feeling of it never will, and it’s time to go before the pain gets too much.

Super Graphic Ultra Modern Girl:

The upbeat track is about not caring what others think of you when dating and cutting loose those wasting your time not getting to know you.

HOT TO GO!:

How you are reading this is how it is sung. I dare anyone not to be smiling along to this uptempo and cheerful track. With its infectious beats and catchy lyrics, it’s utterly understandable that this is a crowd favourite and the highlight of her concerts. This is the ultimate cheesy-pop dance track that is for everyone.

My Kink is Karma:

The song is about karma, as the title suggests. Chappell finds pleasure in knowing that an unpleasant ex is finally getting karma.

Picture You:

Another downtempo ballad, where she sings softly yet powerful.

Kaleidoscope:

Another downtempo track addresses how her best friend has crossed the line regarding intimacy.

Pink Pony Club:

This sounds like a name for a strip club, and funnily enough, the song is about a small-town girl who leaves home to become a stripper at the world-famous Pink Pony Club in Santa Monica. Well, at least in Chappell’s imagination, anyway. 

Naked in Manhattan:

Chappell discusses her sexuality on this one as she dabbles with experimentation and risks with a new lover.

California:

This is an ode to her love of music that also describes the pitfalls of becoming a musician, like feeling pressure not to disappoint everyone who believes in her. It is also a shot at her former label, which never gave her a chance after her first few songs were not well received. It’s ironic how that all worked out for her after their haste to dump her. Showing how California music moguls do not always have your best interests and are too impatient with talented artists.

Guilty Pleasure:

The closer combines all the subjects discussed so far. The intro appears to represent another ballad with the acoustic guitar playing before bursting into funky synths during the chorus.

Song recommendations: ‘HOT TO GO!’, ‘California’, ‘Red Wine Supernova’

7/10

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 15- The Libertines- All Quiet on the Eastern Esplanade

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In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.

The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.

Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.

Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.

After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.

Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.

The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.

Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.

‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.

‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”

The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.

In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.

I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.

Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’

8/10

Week 9: Rod Stewart & Jools Holland- Swing Fever

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Well, it goes without saying that I am a big fan of Jools Holland; as you know, I discover many bands/artists through his show. Jools started off as the keyboardist in Squeeze before leaving to go solo while presenting The Tube on channel 4. He then went on to form His Rhythm & Blues Orchestra and present the Late Show’s spin-off “Later…with Jools Holland in a pokey studio in Shepherd’s Bush. The show would expand and move to Maidstone Studios in 2011 (The Annual Hootenanny still takes place there.) before returning to Shepherd’s Bush in 2019 and then moving onto the current venue deep in the bowls of Alexandra Palace, where the first television broadcast for the BBC took place. The show had a live half-hour midweek show until 2019 before reverting back to a show that lasted just an hour on weekends from 2020 onwards. Of course, the series during 2020/21 was locked down, so it was limited to one guest per episode discussing their music and their favourite moments from the show’s archives with other bands/artists performing elsewhere. Now, onto Rod Stewart. I have no idea when how I came into his music because my mum is a big fan of his, and during the 80s/90s, she would go to quite a lot of his London shows. I guess I grew up with his music.

As you know, Rod was in the Faces with Rolling Stones guitarist Ronnie Wood, among others. He then decided to go solo, and the rest is history. He has amassed hit after hit and collaborated with a slew of artists.

You might think, “What’s the point of this album? It will be the usual compilation”. Well, I didn’t share that notion after listening to them talk about the project on the One Show and Jools’ Later Show. I know it all started after a love of building model railways, et cetera( Look closely at the opening credits of Later…with Jools Holland from 2015 onwards. You will see what I mean.). Honestly, I knew this wouldn’t be a compilation album with no love put in, because Jools and Rod are passionate about Swing. One thing that I was surprised about was the front cover. Why is Rod, with a whiskey shot, sitting in front of Jools, while Jools is in the background, sitting on a table leaning on an upside-down chair in what looks like a bar setting? This is supposed to be a collaboration. They should have been sat parallel to express this. The cover art gives the impression that this is Rod’s record.

As the album is set around the Big Band Era, the bulk of the songs are strikingly short, falling under the 3-minute mark regularly. This is how it used to be back in that era so that they could be played on the radio. Of course, songs can now qualify for anything up to five minutes. Talking of five minutes, the opener ‘Lullaby of Broadway’ is the longest track on the record, packed with brass, Rod’s swooning vocals and Jools’ iconic boogie-woogie. This is followed by ‘Oh Marie’ with more of the same, but much shorter. ‘Sentimental Journey’ is where Rod’s vocals hit top gear surrounded by brass and trumpets. Jools takes centre stage on ‘Pennies from Heaven’ with his band backing their leader. Rod’s vocals synchronise with Jools and his band on ‘Night Train’.

Rod and Jools have a lot of fun on this album. Where it falls down for me is that I thought this was supposed to be a collaboration. Too often on this record, I felt Rod was taking centre stage, and Jools was simply blending into the background. Jools is a phenomenal boogie-woogie player, but there wasn’t enough of that for me. We were not shown Jools’ pure craft on the piano. However, if you want an upbeat album for a knees-up, then this is it. 

Song recommendations: ‘Sentimental Journey’, ‘Night Train’, ‘Oh Marie’

8/10

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 49: Peter Gabriel- i/o

~ honestopinions19 ~ Leave a comment

Here is a summary review of all the tracks:

Panopticom:

Pop-funk verse, acoustic guitar in chorus, tempo changes throughout with Brian Eno on synthesisers.

the Court:

Similar to ‘Panopticom with piano at outro and Brian Eno on synthesisers.

Playing for Time:

Emotional piano ballad accompanied by strings.

i/o:

Lyrically focused, it grows from a relaxing melody into a singalong anthem.

Four Kinds of Horses:

Briano Eno on synthesisers and electric worms, half-spoken verse, rousing bridge, and a subliminal message chorus.

Road to Joy:

Brian Eno on production, uplifting track with a catchy hook.

So Much:

An emotional track over the piano with Soweto Gospel Choir.

Olive Tree:

Classic Peter Gabriel with an air-punching chorus.

Love Can Heal:

Something of a lullaby.

This is Home:

Outstanding vocals over a fantastic production.

And Still:

An emotional track addressing the death of his mother.

Live and Let Live:

Brian Eno on synthesisers and rhythm programming, Soweto Gospel Choir also features. Peter said the late Nelson Mandela and the late Desmond Tutu inspired the track. It’s a track about love and forgiveness.

Conclusion:

This is a quintessential Peter Gabriel album, which isn’t a bad thing, but the tracks are incredibly long, and I would describe the production like a river—everything flows, but the songs all sound similar, with some exceptions. I don’t know how this got to No.1 when the kids these days stream music, and I wouldn’t have Peter Gabriel at the top of their list. I can only think that “i/o” has been bought for parents/grandparents, uncles and aunties as a Christmas present. Still, fair play to him for managing to score a No.1 album in this day and age.

Song recommendations: ‘Panopticom’, ‘Four Kinds of Horses’, ‘Live and Let Live’

7/0

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’