Tom’s latest album is more than just songs to add to his growing repertoire; they are from his soul. “Everywhere I Went Led Me to Where I Didn’t Want to Be” sees him explore new sounds over fifteen tracks. He delves into his struggles with his self-belief and the confidence he has gained since those times.
Yes, Tom still has that pop-friendly sound we have associated with him since the debut record, but he isn’t afraid to flirt with a diverse range of sounds. Jazz features on ‘Certified’, disco on ‘Lonely Dancer’, and ‘Drama Queen’ with a touch of rock. This album offers a plethora of genres, characterised by frank lyricism and raw vocals.
On the surface, the record contains sing-along anthems and tracks you can dance to, but underneath you can see the vulnerability in the lyricism and of course his vocals. He discusses batting his demons over uplifting instrumentation, which represents his defiance against them.
Justin Tranter encourages Tom to use trumpets, arpeggiated piano, and, of course, find new harmonies within his vocals that captivate the listener as we go on a journey of his life.
’Somewhere Only We Go’ is a standout. The track has a blend of change and growth, sharing memories along the way. The steady tempo, drums, and a swelling guitar riff complement Tom’s vocals.
The tempo drops on tracks like ‘Cinnamon’, where he is more tender in his delivery. The track also welcomes the second half of the album. A departure from an energetic first half.
Another track similar to ‘Cinnamon’ is ‘I Won’t Miss a Thing. ‘ This emotional track is a piano ballad, where Tom can really let his emotions go, where he addresses life and even though those who have passed on still remain with us, albeit in spirit—a track where reflection is necessary.
Of course, you have tracks full of energy like recent singles ‘Full Attention’ and ‘Boys Don’t Cry’ that firmly fit into the rock category, and I will add ‘Full Attention’ to my song recommendations, but overall, the record is another feather in his cap. We have his vocals blending with the variety of instrumentals that show his ability to express power and tenderness where required. The sound may be on the whole uplifting and fast tempo, but as mentioned earlier, when you listen to the lyrics, you will hear a sadness in his soul, defiance, and maturity. My only complaint is that most of the songs are far too short. Just as you are getting into them, they are over; apart from that, the record displays every side of Tom.
Song recommendations: ’Somewhere Only We Go’, ‘I Won’t Miss a Thing’, ‘Full Attention’
If I weren’t doing a track-by-track review, I would give an introduction to Reneé Rapp (I did plan to do a brief, but unfortunately, brief wasn’t all that brief.), but what you will discover through this is that it embodies her whole devil may care attitude, and how she lives life how she pleases. She will only do whatever makes her happy, rather than appease people. This is what appeals to her fans, and people like me, who have only just discovered her. As the review goes on, you will see that she is outspoken and isn’t afraid to use expletives or throw in the occasional comedic remark. Such as this track, which has lyrics like “Manager called said ‘where’s the single?”. She also expresses she wants to have fun over business matters. She also references The Sex Life of College Girls, a show that I think is on ITV2 at an early hour on a Saturday—a show where she coincidentally appeared. The reference calls out fans of the show, who are less than impressed that she left it to pursue music.
Mad:
This acts as the second single, which is a pop anthem about having an argument with her lover, and wanting to make amends, but the lover is hurt and won’t accept the apology. She tries everything to make amends, but her lover refuses to lose face. She goes on to attack her lover by accusing them of fucking with her head, and therefore has had enough, and lost the energy to fight. All of that aforementioned takes place in the chorus. The song itself resonates with the listener because we have all been through this at some point in our love lives. It is a classic pop track.
Why is She Still Here?:
This emotional piano ballad was the third and final single to be released off “BITE ME”. This blues-infused R&B track fits in with her vocal range. The focus is on her begging her significant other to let her or another woman go, because both are being played. You can hear this frustration in her vocal delivery and by the lyricism used. She also finds it hard to let her lover go, even though she feels she is being treated as a bit on the side.
Sometimes:
This is basically the second part of ‘Why is She Still Here?’, but instead of showing her frustration, Reneé displays more resignation as expressed in the chorus. She pleads with her lover to let her go. A highlight of the track is her lyricism and falsetto.
Kiss it Kiss it:
From the emotional piano ballad to pure pop energy. Do not let your kids listen to her as she gets very sexually intimate. I imagine it is about her current girlfriend, Towa Bird, whom I believe was her on-screen fling in the television show mentioned back on ‘Leave Me Alone’. It’s about the journey from despair to the ecstasy of being madly in love. There are some great comedic lines in this, such as “She asked how I like my breakfast?/ I told, ‘hot on the bedroom floor’. There is also one about making love and almost getting pregnant, even though that is impossible with two women. The lyricism, as you can see, is full of comedy, but also addresses the passion and sexuality between them. Regarding the soundscape, it contains a catchy drumbeat coupled with a bouncy bassline.
Good Girl:
The title explains it all. She talks about how she used to be a good girl. She says she has a safe lifestyle in favour of drugs, and living in the fast lane. She expresses that her new life is disappointing her father. This 80s synth pop track is the second part of ‘Leave Me Alone’.
I Can’t Have You Around Me Anymore:
This acoustic guitar ballad explores the theme of falling in love with a friend, but questioning whether these feelings are genuine, despite her having a girlfriend, which is affecting her relationship. Her vocal delivery is apt for the reflective nature of the track. As the track unfolds, she tells the friend she has feelings for to end all forms of contact, because she cannot deal with having her around while she is in a relationship, and is scared of losing both women.
Shy:
I have failed to mention it so far, but I do sense a Ke$ha vibe with her both spiritually and vocally, and this song would belong in Ke$ha’s early 2000s era. You notice the ongoing theme of the album is based around her girlfriend. This song expresses that she is behaving oddly for her because, instead of being smitten, she is used to being quite volatile. For once, she feels shy as the title suggests, and therefore wants Towa to snap her out of it. However, these emotions are all contradicted in the bridge, where she embraces being shy.
At Least I’m Hot:
You may think the title suggests a moment of egotism, but no. She is talking about herself ironically. The track is quite dark because it talks about being depressed and overwhelmed by everything surrounding her.
I Think I Like You Better When You’re Gone:
The title is very misleading because as you start to listen, you can hear the R&B ballad is full of emotion about her ex-girlfriend, and recalling when they were together. In the first verse, she expresses that she is happy when she isn’t around and hopes she never returns because she has made peace with the relationship approaching its end. The second has more reflective lyrics, but it is her guilt during her delivery that adds to the authenticity of the story.
That’s so Funny:
One thing I appreciate about her tracks is her knack for sarcasm. Not many Americans understand irony, but she certainly does. She aims at an unnamed individual who has spoken ill of her, putting her in a negative light. She also references the television series in which she was in the second verse.
You’d Like that Wouldn’t You:
She doesn’t hold back on the final track as this action-packed song contains sarcasm, her delightful vocal range, and a lush soundscape. As you can imagine, Reneé brings attitude to the table, taking aim at another ex-girlfriend and saying she wants her back, because she cannot find anyone better. I thought Olivia Rodrigo was blunt and honest, but Reneé Rapp takes it to a whole other level.
Song reccomendations: ‘You’d Like That Wouldn’t You’, ‘Leave Me Alone, ‘Good Girl’
Alex Warren is a YouTuber with personal storytelling on his debut album “You’ll be Alright Kid (Chapter 1). Now, the original came out in September last year, but has been bolstered with further tracks in the updated version, which has seen him soar to the top spot. We hear about life experiences, fears, and the importance of self-acceptance, all set to the backdrop of pop music.
Despite my limited knowledge of his online persona, one thing is sure: he is a talented songwriter who can deeply connect with his audience. His lyrics touch on themes of vulnerability, struggles with fame, past traumas, and the journey to inner peace. His tracks are not just songs; they are a personal journal set to music, offering a glimpse into his troubled soul and aspirations. He speaks to his younger self, assuring him that the pain will fade and his fighting spirit will emerge.
As I mentioned earlier, the record has pop soundscapes, but more alt-pop, and of course, his brilliant songwriting. Synths can be heard along with the acoustic guitar and heartfelt vocals. The lyricism is never overwhelmed by the clean and polished production. Of course, if you’ve listened to any of his songs, you will know they are extremely radio-friendly, but it is his delivery that gives them that real emotion. This is more evident on his confessional tracks.
The album strikes a chord with the listener, delving into the trials of mental health, the experience of being an outcast, and the complexities of teenage life. These themes have been the driving force behind his growing fan base. It’s inspiring to see a YouTuber transform into a serious musician. His sound, at times, bears a resemblance to Myles Smith, making it difficult to distinguish their songs, especially when a new one is released.
There is a song for every listener, which is why he can easily connect with them. I am looking forward to his second record, hoping for a bit more rock.
Song recommendations: ‘Troubled Waters’, ‘Carry You Home’, ‘Burning Down’
Lorde or Ella Marija Lani Yelich-O’Connor first came to prominence at the tender age of 15. Of course, my introduction was through Later…with Jools Holland, where she performed ‘Royals’, a track that, somewhere along the line, has been called “racist”. I am not here to discuss that, but rather how she became more than just a flash in the pan after her strong debut. I also recommend watching a YouTube documentary on her from her native New Zealand, featuring accounts from her friends and detailing her early rise.
The Irish New Zealander has been known for her reflective lyrics, otherworldly production, and for defying the conventional expectations of what a female pop star should be. Her debut album, “Pure Heroine,” demonstrated an exceptional level of maturity for a mid-teenager, both lyrically and vocally.
Lorde has never been shy about discussing her struggles with fame and her thoughts on culture and the arts. In a world full of fake bullshit, Lorde searches for the truth.
She is not interested in following the herd. After the debut came “Melodrama”, a collection of bright melodies, followed by the reflective “Solar Power”. What’s consistent across all her records is that her music never stays the same. She’s always evolving, always stepping out of her comfort zone. This was just a brief introduction to Lorde, as I want to focus more on the review. But I strongly recommend that you listen to her albums, experience her live performances, and seek out documentaries, because her story is a fascinating journey that’s worth exploring.
People have been waiting quite some time for her fourth studio album, “Virgin”, and although it is easy on the ear, the sound itself has remained stagnant. Everything else, from the lyrics to the themes, is, as always, the strongest link. I am quite surprised that her sound has not moved forward. As with every record, she is not interested in the past. As I mentioned, she likes to challenge herself, but this feels like she has played it safe, for once.
The opener ‘Hammer’ is quite a misleading finish. It builds and builds, and you expect a mind-blowing chorus, but instead it fades into an instrumental interlude. A rather disappointing end to a track that had the potential to be much grander than what it was.
Her leading single, ‘What Was That,’ also suffers the same fate, as the wishy-washy music surrounds her lyricism and strong subject. The track also builds like ‘Hammer’, and just like that track, it too comes to a shuddering halt.
After the shaky start, the record picks up with tracks like ’Shapeshifter’ and ‘Man of the Year’. Let’s focus on that. Her vocals, shrouded by a bass line, are then joined by strings and synths, leading to a moment of grandeur. This allows the lyrics to take centre stage before the build-up.
‘Favourite Daughter’ shows her ability to devise a memorable chorus and addresses how her mother has dealt with her fame. ‘GRWM’ and ‘Broken Glass’ also have strong choruses. It’s just a shame that what appear to be potentially good tracks are overshadowed by the production.
The title track, despite the production that overshadows her vocals and lyrics, showcases the artist’s potential. The opening two tracks, along with ‘Current Affairs’, unfortunately, fall short of the standard set by “Solar Power”. It’s uncertain where “Virgin” will rank over time, but for now, due to the production hindering the lyrics and vocals, it appears to be her weakest yet.
Song recommendations: ‘Man of the Year’, ‘Favourite Daughter’, ’Shapeshifter’
Before their stroke of fortune of being bumped up to Glastonbury headliners in 1995, and of course, the success of ‘Common People, Pulp had been plying their trade for over a decade with little success. However, their rise from playing pokey venues in Sheffield to performing in stadiums, and of course, being on the iconic 1996 Knebworth Oasis gigs, shows that with a little patience, you can get to where you want to be. The band finally found their home in the 90s, thanks largely to their counterparts Oasis making indie rock cool again. Jarvis was seen as an elder statesman of the scene despite still being relatively young in his early 30s. The band emerged from post-punk in the 1970s and began with a teenage Jarvis Cocker inspired by David Bowie, and Roxy Music formed the band in 1978 using the original name Arabicus Pulp. The band flirted with various sounds and had frequent lineup changes while trying to search for their identity that began to take shape in the late 80s.
Before the hedonistic days of the 90s, the band, despite their indie status, had a strong connection with their fanbase, which remained small but loyal. They released several singles and albums that explored themes such as adolescence, boredom, and sex, all tinged with melancholy. Interestingly, tracks like ‘Babies’, now a regular feature in their setlists, were born during this period, showcasing frontman Jarvis Cocker’s storytelling talent, lyrical prowess, and knack for crafting a hit that vividly depicts life in Sheffield and his time at St Martin’s College in London, where the iconic ‘Common People’ story began.
Then came the breakthrough years in the 1990s. Jarvis had changed the lineup during the mid-80s and brought guitarist Russell Senior, keyboardist Candida Doyle, drummer Nick Banks, and the late bassist Steve Mackey. Pulp finally found their wall of sound that would bear fruit in the following decade. That sound would include glam rock, art-pop, and lyrical storytelling, all delivered with charisma by frontman Jarvis Cocker, the band’s founder in 1978.
The band’s 1992 single, ‘O.U.’, marked the beginning of their success and appealed to a broader audience. This success paved the way for their 1994 album “His n Hers”, a collection of songs that featured relatable storytelling. Popular songs such as ‘Do You Remember the First Time?’ let the audience feel a personal connection to the band’s music. This is where frontman Jarvis, a witty storyteller, arrived, further enhancing the emotional connection between the band and their fans. “Different Class” followed a year later, and this is when things really took off for the band. ‘Common People’, which had a dig at the class divide, was fast becoming a frequently played song and evolving into an anthem for the band. ‘Disco 2000’ and the controversial ’Sorted for E’s & Wizz’ showed Jarvis’ witty and comedic storytelling over unforgettable melodies. The album would beat Oasis, among others, for the Mercury Prize in September 1996. It is also worth noting that their fan club president, Mark Webber, joined them as a guitarist/keyboardist in 1995 when they commenced recording the now legendary record.
Guitarist Richard Hawley became a touring member in the late 90s and early 2000s. The band appealed more to the misfits and quiet ones compared to the brashness and laddishness of the Oasis fanbase.
If you are new to Pulp, I would start with the iconic “Different Class”, but after, give “His n Hers” a listen to experience Jarvis’s lyricism with the band’s raw energy. You will realise why Pulp, even during their hibernation, has always been relevant in music conversations. Jarvis’ lyricism is like the poetry of everyday life accompanied by instrumentation. It also shows why they are still adored internationally—enough of the introduction. Yes, I could have mentioned the indie rock departure of “This is Hardcore”, but I was in danger of boring you. So, let us move on to the long-awaited record.
Pulp has finally completed its eighth album after a gap of twenty-four years between 2001’s “We Love Life” and now. It is also, sadly, the first record without their bassist, Steve Mackey. Although “More” addresses middle age daily life, compared to their iconic 1995 album “Different Class”, Pulp has not lost the magic that made them so popular in the 1990s.
From wanting to be noticed in their heyday, this album is more based on nostalgia than in the future. There are two tracks where enigmatic characters appear in ’Tina’ and ‘Grown Ups’ who seem to be individuals from Jarvis’ past.
Do not be fooled by the notion you are just listening to songs because with Pulp, it is more than merely instrumentation with nonsensical lyricism. The songs have always been poetic lyricism, and this record is no different. The tracks all formulate a meaningful story; sometimes, Jarvis delivers these in spoken word. Be it through the interludes or breakdowns during the tracks. Pulp is not aiming for chart success with “More” but is looking to structure the songs however they see fit while keeping the listener interested with the storytelling over various genres. This is not your typical pop-friendly album.
Despite not aiming for chart success, the band maintains a unique and unmistakable identity firmly embedded in their record. Each element contributes to the band’s distinct style, from Nick Banks’ driving drums to Mark Webber and Candida Doyle’s elan and Jarvis Cocker’s exemplary storytelling and witty lyricism. The band’s dynamic combination of these factors, however, is what truly excites and engages the audience.
The album explores several phases of human emotion. ‘Got to Have Love’ is what I would describe as a Smiths/Oasis/Killers song laced with melancholy over uplifting instrumentation. In this case, it is more indie-disco, like a fair few of their hits were in those heady days. ‘Farmers Market’ swings the mood with a romantic story encased by a piano and violins to bring it to life.
’Spike Island’ opens the record with a short, amusing story, setting a feel-good tone. ‘Hymn of the North’, the penultimate track, is a heartfelt tribute to their beloved Sheffield. The closer ‘A Sunset’ wraps up the album on a note of tranquillity, leaving you calm. Unfortunately, I haven’t had the chance to listen to the bonus track ‘Open Strings’ to see how it might alter the album’s ending. The verses in ‘A Sunset’ resemble the late Johnny Cash’s rendition of ‘Hurt’. Whether this was a deliberate homage from Jarvis or a happy coincidence, I can’t say.
“More”, for me, has something for everyone. It is not based in one genre. The lyricism and storytelling are outstanding, and I am excited about what comes next because it was worth the twenty-four-year wait. Despite the tragic loss of Steve Mackey, the band has not lost their touch, aided by their old friend Richard Hawley. Pulp is in rude health, and the impending tour will be fantastic. The magic is still there; they deserved to be at the top of the chart. Form is temporary, but class never fades.
Song recommendations: ‘Farmers Market’, ‘Hymn of the North’. ‘Got to Have Love’
Just like Slipknot, Sleep Token’s gimmick is also donning masks. A few years ago, they exploded into the commercial arena with a unique blend of genres and an enigmatic persona shrouded in mystery that has garnered a dedicated fanbase. Their previous album was “Take Me Back to Eden”, released in 2023, where the band’s music became a bit like Marmite. I shouldn’t have to explain the meaning behind that phrase, so I won’t.
As I embarked on this review, I must confess that my knowledge of the band (or, should I say, duo) was limited. However, I was genuinely impressed after being advised to listen to their previous record. Unfortunately, “Even in Arcadia” does not live up to their earlier work. The album seems to lack a clear vision, resulting in a collection of songs that feel disjointed and lacking continuity.
Yes, I know the London duo are trying a different direction, but they were hesitant to do it. The record leans into more pop, and they do not appear comfortable with it. They occasionally tread familiar ground with rock and metal while flirting with new sounds. ‘Gethsemane’ has riffs that we haven’t heard from them before, and the heavy tracks are all too often fleeting moments. Regarding their use of pop, for example, the title track features no guitars but instead goes more orchestral. The band/duo is synonymous with the guitar, so it was a surprise that they elected to have none. I suppose they wanted to appeal to a broader, more commercial audience, so they felt it was necessary.
Despite all that, I remain impressed by II’s drumming, one of the album’s highlights. Especially when you listen to their leading single ‘Emergence’. It has a syncopated yet complex drumbeat, which is always a joy to listen to because it shows II’s skill.
Their formula is certainly weakened the further you get into “Even in Arcadia”. Their music is usually heavy, and is more restrained on this album, with Vessel’s vocals having a repetitve cadence in the trap sections. The lowest point of the record is ‘Caramel’; it is simply a mediocre pop track that rescues itself at the end with a heavy breakdown, a section where the music becomes more intense and powerful, but apart from that, it is a jarring listen. ‘Infinite Bath’, which closes the record, also adopts this approach but is only slightly better. The album itself is mediocre and lacks the energy they are usually known for.
Now, let us address why the record is a flop: the lyricism. It is basic rhubarb and custard rhyming. This is the kind of lyricism you use when beginning your journey as a lyricist. Not when you are relatively deep in your career. Honestly, I wondered if Vessel had writer’s block and just went, “Fuck it. That’ll do.”
“Even in Arcadia” is a flop, with its poor lyricism and scattergun production. The high points are momentary compared to the low ones, highlighting their flaws. However, this disappointment is not the end. There’s room for growth and improvement, and I believe the songs will stand up better onstage than in the studio. Live performances often bring out the best in music. Studio recordings can be too polished and lack that raw energy. I still believe this little bump in the road will not harm their trajectory, but I expect much better next time. ‘Emergence’ is the only highlight from a very mediocre album.
I confess, I approached Lady Gaga’s new album, “Mayhem,” with a certain level of anticipation. After my positive review of “Chromatica,” where I praised her embrace of classic house music, I was eager to see where she would take her sound next. Unfortunately, “Mayhem” proved to be a significant disappointment, transporting me back to a sound I frankly, never enjoyed.
Despite the intriguing black-and-white cover depicting Lady Gaga in a gothic, almost brooding light, the music within feels like a deliberate throwback to her late-2000s era. Think ‘Poker Face’ and ‘Bad Romance’, the very songs that cemented her pop superstardom. For me, that’s where the problem lies. While those tracks clearly resonated with millions, they never clicked with me.
“Mayhem,” in my opinion, echoes that same formula. The heavy synths, repetitive hooks, and hyper-theatrical vocals that defined that early period are all present and accounted for. Instead of forging new sonic territory, “Mayhem” feels like a nostalgic revisit, a move that feels out of step with the progression promised by “Chromatica”.
Frankly, I couldn’t manage to glean any enjoyment from the listening experience. The songs, to my ears, felt derivative and lacked the innovative spark that I’d come to expect from Lady Gaga. For this reason, I’m refraining from assigning a rating or recommending any specific tracks.
The most enjoyable part of listening to “Mayhem” was undoubtedly when it was over. Perhaps fans who adore Gaga’s early work will find something to appreciate in this return to her roots. However, for those hoping for continued evolution and sonic exploration, “Mayhem” might just leave you feeling… well, let’s just say underwhelmed.
The original album, released in 2023, was recently re-released as a 72-hour limited edition for Valentine’s Day, a move that propelled it to the top spot on the charts after initially entering at a humble 90 two years ago. Sonically, it may not be groundbreaking, but as a recorded extended play, the clarity is exceptional. It’s crystal clear, with no soundboard interference. What’s truly impressive is the balance between the crowd and the performance. The crowd’s energy is palpable, adding a unique dimension to the recording. It didn’t use in-ear monitor recording, which makes it stand out.
This EP has been panned in the past for lacking the energy of her usual live shows, but I absolutely love “Lover (Live from Paris)” because it is Taylor laying her soul with acoustic versions of songs familiar among the Swifties. I have always said that I admire Taylor’s acoustic performances, so even though this record is only half an hour, it was a joy to listen to it, especially ‘Death by a Thousand Cuts’, sounding like a blend of Travis and The Libertines during the verses. ‘Cornelia Street’ sounds like The Script and Train. ‘The Man’ sounds like Ed Sheeran. Of course, some of the tracks have more to them. What I mean is some substitute the guitar for a piano, and some go electronic. However, it is the acoustic guitar tracks that shine for me.
If you dislike Taylor’s music, you might change your mind after hearing her perform acoustically. Now, I am not a Swiftie, but I do enjoy listening to her music, especially when she does intimate shows on the acoustic. This is where you can hear the songwriter in all their glory.
Song recommendations: ‘Death by a Thousand Cuts’, ‘Cornelia Street’, ‘The Man’
As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:
Feel featuring Carter J Murphy & Steve Pemberton:
The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.
I Found Heaven featuring Tom Bales & Adam Tucker:
The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.
Rock DJ:
I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.
Relight My Fire featuring Tom Bales & Adam Tucker:
I never liked the original version with Lulu of this poppy dance track, and I still don’t.
Come Undone:
I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.
She’s the One featuring Adam Tucker & Kayleigh McKnight:
As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.
Something Beautiful:
I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.
Land of 1000 Dances featuring Adam Tucker:
This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.
Angels featuring Adam Tucker:
I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.
Let Me Entertain You featuring Adam Tucker:
One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?
Better Man featuring Adam Tucker:
From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.
My Way featuring Adam Tucker & Steve Pemberton:
Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.
Forbidden Road:
The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.
Song recommendations: Angels, She’s the One, Forbidden Road
This review will be all over the place, so bear with me. As you may know, the Blu-ray/Dolby Atmos edition of Elton John’s 2017 album “Diamonds” was released a few days after New Year’s Day, and on the back of it, he displaced his very good friend and Rocket Entertainment Artist Ed Sheeran at the top of the album chart.
So, what’s the standout feature of this edition? It’s the 48 tracks, this time in a different order than its previous editions . But the real game-changer is the significantly enhanced sound quality, especially on the tracks recorded on analogue from the 70s to the 90s. You’ll notice a marked difference in the sound of songs from that period, with a reduction in distortion and crackling, particularly in the studio recordings pre-1980s. The Dolby Atmos experience, as I’ve previously highlighted in the Oasis “Definitely Maybe” 30th-anniversary reissue and Ed Sheeran’s “Mathematics Tour Collection”, is truly exceptional. The investment in an album in Dolby Atmos is truly worth it for the quality of the output.
For example, take a listen to songs like ‘Rocket Man (I Think It’s Going to be a Long, Long Time’, ‘Daniel’, ‘Bennie and the Jets’ and ‘The Bitch is Back’, and you will notice that the crackle has been removed. So you can enjoy those songs from his early years without them being ruined by the crackle or pop.
The same goes for the early tracks. Because the crackle or pop has been removed, the listening experience is more enjoyable, and you can appreciate young Elton’s wizardry.
Unfortunately, Dolby Atmos did not work well with ‘Saturday Night’s Alright (For Fighting)’. For some reason, it sounded awful.
I was also disappointed with the mixes of the later material, but it is hard to remaster what already is close to perfection sonically. They do not require much touching up, so they don’t sound much different from the originals compared to the early material.
If you didn’t know, the 48 tracks combine his greatest hits, best b-sides, non-album singles, best live tracks and from “The Lockdown Sessions”. You are not listening to anything fresh, albeit a new perspective on his earlier recordings, which have finally eradicated the crackle or pop. The enhanced sound quality, thanks to Dolby Atmos, brings a new life to these older recordings, making them a joy to listen to. Once again, I will be doing the songs to avoid because, as you can imagine, this record is full of too many gems to break down into just three tracks. I cannot do that because apart from ’Saturday Night’s Alright (For Fighting), even some of the earlier songs I am not fond of sound great with Dolby Atmos.
Recommended: Listening to the earlier songs remastered with Dolby Atmos
Honest Opinions 