I cannot, for my life, figure out how people are saying this; it sounds totally different from its predecessor. What I am hearing is more of the same. However, “Tension II” is more enhanced with lyrical content. As you know, Kylie has a knack for writing catchy choruses, executed perfectly in ‘Taboo’. ‘Lights Camera Action’ has a touch of Madonna about it. ‘Diamonds’ features the co-leader of the Scissor Sisters, Jake Shears, and it has that kind of pop music you would associate with Jake.
Returning to an earlier comment, if you disagree with me that the record is not a continuation of the previous album, I will say that there are more songs on this that will hit the charts and become crowd favourites. It also sums up Kylie’s ability to make great pop. You will hear that over the first 11 tracks and then encounter two tracks that appear for god knows what reason. They do not fit with the flow of it. One track with Orville Peck is country/disco/pop but at a plodding tempo, and the other track features fellow Australian Sia, which, to be honest, isn’t that good.
‘Hello’ is also another track that doesn’t have much going on. ‘Good as Gone’ is a good song, but unfortunately, it has quite surprisingly a weak chorus. Despite what some critics have said, the production overall doesn’t alter that much from its predecessor. I am not knocking it, far from it. I enjoyed “Tension” for its disco vibe, and therefore, I enjoyed its successor. ‘Kiss Bang Bang’ sounds exactly like ‘Padam Padam’, but I seemed to enjoy ‘Kiss Bang Bang’ much more.
Song recommendations: ‘Kiss Bang Bang’, ‘Lights Camera Action’, ‘Diamonds’
The band formed in 1991 and was originally called The Rain after a Beatles b-side from their ‘Paperback Writer’ single. The band was founded in Manchester by Paul ‘Bonehead’ Arthurs (rhythm guitar), Paul ‘Guigsy’ McGuigan (bass), Tony McCarroll (drums and percussion) and Chris Hutton (lead vocalist). Chris didn’t last long and was replaced by Bonehead’s friend Liam Gallagher, who was far from impressed with the band’s name. He said they should change it to Oasis after an Inspiral Carpets poster he had in his room that was a promotional poster for their gig at Oasis Leisure Cente, Swindon. Liam’s middle brother Noel was also the roadie for Inspiral Carpets at the time. That was shortly to change. Noel was in attendance at the band’s debut gig on August 14, 1991, at Manchester’s Boardwalk, where they were at the bottom of the bill, including the Catchmen and Sweet Jesus. The band played songs written by Liam and Bonehead called ‘Take Me’, ‘Alice’ and ‘Reminisce’. Noel felt there was something in the band, even though Liam sounded like The Stone Roses frontman Ian Brown, down to Ian’s famous onstage swagger. Noel then approached the band to give his thoughts. Younger brother Liam asked him if he would like to be their manager.
Noel refused but said he would like to join the band on the condition that he would be the only songwriter and become the leader, and they were dedicated to the band, which would lead to being signed and more. The band agreed to his terms, and Noel went to work first of all by removing the songs written by Liam and Bonehead, only opting to keep ‘Take Me’. He also changed how Bonehead, Guigsy, and Tony played. He got Bonehead to play barre chords, Guigsy to play root bass notes, and Tony to play basic rhythms with the band’s amplifiers turned up to maximum to create distortion. Noel would also take up duties as lead guitarist/backing vocalist. The distorted sound gave them a raw sound that wasn’t being done at the time and gradually got them noticed, especially at King Tut’s Wah Wah Hut, Glasgow, where Alan McGee, the head of Creation, heard them after missing a train to London and went along to see one of his acts. Although ten people were inside the venue, he liked what he heard and approached Noel to see if they were signed. When Noel said “No”, he asked if he wanted a record deal. Noel casually answered, “Yeah. Alright.”
From there, as you will probably be aware, their rise went fucking stratospheric. Their first two albums, “Definitely Maybe” and ” (What’s the Story?) Morning Glory”, would reach the summit and still remain classics. They then played iconic shows like Earls Court 1995, Maine Road 1996 and Knebworth Park. They were always attracting the media’s attention with anything from controversial comments to the Gallagher brothers constant fights and arguments. The band also almost split up several times over issues ranging from poor gig performances to abandoning tours to go house hunting. Band members came and went during their prime and their transitional years. Tony McCarroll was the first to go in 1995, followed by Guigsy briefly in 1995, before returning after Scott McLeod left during the American leg of “(What’s the Story?) Morning Glory? Tour. Guigsy and Bonehead would both depart in 1999. Alan White in 2002, with his brother Steve briefly taking over, Zak Starkey in 2008, and Mike Rowe would leave as the touring keyboardist to be replaced by Kula Shaker’s Jay Darlington. The final lineup would feature Colin ‘Gem’ Archer and Ride’s Andy Bell, who joined in 1999, with Chris Sharrock becoming the drummer in 2008. I don’t really need to go in-depth into what happened at Rock en Seine, Paris, on August 29th 2009. My reviews of Liam Gallagher and Noel Gallagher’s High Flying Birds have more than covered that. The band announced, though, that they were reforming on August 27th this year, with several dates announced for the UK and Ireland leg of their “Live 25” tour, which sold out in minutes.
Further dates are set to be announced for a global tour. The brothers have also done a photo shoot with Simon Emmett this year and reconciled with each other, despite being rumoured to be kept at arm’s length when the tour starts next July. Now that’s done, let’s begin introducing “Definitely Maybe”.
“Definitely Maybe” was released 30 years ago, on August 30th 1994, and the debut album went straight in at No.1. The leading single ‘Supersonic’ released in April , while not breaking the top 20, set the stage for what was to come. Two further singles, including the rather corny ’Shakermaker’ released in June, added to the anticipation. However, it was the release of ‘Live Forever’ three weeks before “Definitely Maybe” that truly made an impact. This now timeless classic, with its optimistic lyrics and melody, was enough to convince people to buy the album. Not forgetting their electrifying promotional tour performances and the controversy surrounding the band, most notably the Gallagher brothers.
“Definitely Maybe” was different from what was on the album chart. It was raw, loud, choc full of lyrics about optimism, and had a punk spirit. Many have labelled the record indie, but I feel it is more punk than anything. The album has no heirs and graces; It is unapologetically loud and in-your-face. A stark contrast to the clean sing-a-longs Blur used for “Parklife”. However, “Definitely Maybe” almost didn’t happen. They booked in Monnow Valley, Wales, in 1993, a time when the music scene was dominated by grunge. Oasis were about to record something completely against the grain. But for some reason, they couldn’t find the energy needed to match Noel’s expectations. They binned off recording there. Noel was utterly unsatisfied. The producer, Dave Batchelor, was a casualty because of this. They then tried again at Sawmills, Cornwall, in January 1994. Recording as if they were performing a gig, with Mark Coyle and Noel producing. Noel was again disillusioned and contacted Alan McGee, saying the album wouldn’t happen. Alan had other ideas, and as he invested a lot of time and money into Oasis, you could see why he took action. Alan hastily contacted engineer and producer Owen Morris. He would get straight to by re-recording some of Liam’s vocals, making Tony’s drum sound more punchy, and removing Noel’s excessive guitar layers.
Owen’s changes would bear fruit, and the guitars and drums were aligned with what Noel wanted. However, apart from Owen saving the day by mixing it at Johnny Marr’s Manchester studio, no one can deny it was the great songwriting of Noel Gallagher that was the real magic behind the songs. He had and does have this knack for writing songs with basic chords, catchy choruses, and meaningful lyrics that are not necessarily poetic but incredibly effective. His lyrics have a way of resonating with the listener, and his melodies draw your attention. You have to see ‘Rock n Roll Star’, ‘Live Forever’, and ’Supersonic’ from the album as evidence.
The band was inspired by The Beatles, The Jam, The Sex Pistols, and cheekily lifted the ‘Bang a Gong (Get it on)’ riff by T. Rex for ‘Cigarettes & Alcohol’ while recording. I have heard many slurs that the band is an inferior version of The Beatles, but I do not share this view and see many of Noel’s influences in the music. “Definitely Maybe”, for me, is more Sex Pistols leaning. I have had many debates about that, but for me, it just is; it embodies the whole punk sound. Now on its 30th anniversary, the record has been released in spatial audio with Dolby Atmos, and if you thought the record sounded great in 1994 or when it was remastered, then this will fucking blow you away. It is beyond amazing. The 30th-anniversary edition also contains:
The original Monnow Valley recordings.
Outtakes from Sawmills.
A Liam on vocals demo of ’Sad Song’.
Now, let’s get on with what you really want. The track-by-track review:
Rock n Roll Star:
Right from the start, it’s a burst of energy. The lyrics echo our deepest desires, and the music whisks us away from the daily grind, offering a comforting respite from life’s challenges. It’s always been a personal favourite, whether I’m listening to the record or experiencing it live.
Shakermaker:
I’m not a particular fan of this one. It is corny, yet at the same time, has a certain charm to it. It is also lifted from the 1971 Coca-Cola jingle I’d Like to Teach the World to Sing (In Perfect Harmony). Here is a little fact: Nowaysis covered both versions. The song is also inspired by elements taken from Noel’s listening preferences- you have “Plasticine” from The Beatles, “Mr Clean” from The Jam and “Mr. Soft” from Cockney Rebel. He also references his local Mancunian record shop, Mr.Sifter. When the band perform this live, they occasionally include an extra verse with the Coca-Cola jingle. Noel was cheeky in how many references he used in this song and was fortunate not to be sued by more than just Coca-Cola Schweppes.
Live Forever:
I absolutely adore this song. It is without hesitation my favourite Oasis song. The lyrics are about wanting to live forever to counter the dark lyrics of the late Kurt Cobain during that period. And who doesn’t want to live forever? In the case of Oasis, they will. They are immortalised with songs like this. This track was the catalyst that led me to pick up the guitar and start writing. While everyone wanted to be Liam, I wanted to be Noel. That guitar solo still sends a shiver down my spine. It may not be the most intricate, but it sold learning to play for me. I feel sorry for Tony, though. In the obligatory video, he is buried before rising again after the guitar rings out. Was this subtle to say he was going to be sacked?
Up in the Sky:
Liam’s vocals are superb, matching the tempo of Noel’s riff. Hearing this live is exactly the same as the studio version. Although, Liam might change the lyrics occasionally.
Columbia:
The track started as an instrumental jam before the lyrics were finally added. The surreal lyrics and sound effects match the psychedelic feel. It’s another personal favourite of mine.
Supersonic:
Noel claims to have written this in ten minutes during the sessions, and a dog called Elsa was present, which led to one of the lyrics. Although I enjoy this from the opening drums, I prefer the live version. Noel goes on a mad one and does an extended outro with a blistering guitar solo. Experiencing this one live is something special. I am still dumbfounded how it didn’t break the top 20 upon its release. It’s a timeless piece of music that we can all appreciate.
Bring it on Down:
This one is definitely punk. You can hear The Sex Pistols. It reminds me a bit of their b-side (Also features on “The Masterplan”) ‘Headshrinker’ without the riff from ’Saturday Night’s Alright (For Fighting)’ being partially lifted. It is just raw, from the guitars down to Liam’s snarling vocals. At one point, I believe he is singing into a megaphone. It certainly is that effect, at least. Tony originally wasn’t grasping this tempo, so Noel hired a session drummer, who also struggled. Then, for some reason, it all clicked for Tony. Originally, this was going to be their debut single. And let me tell you, it’s another barnstormer when performed live, full of energy and excitement.
Cigarettes & Alcohol:
Of course, the riff is lifted from T. Rex’s ‘Bang a Gong (Get it on)’ as mentioned in the introduction section. The song embodies wanting to forget about life and have it while drinking and smoking. It is just uplifting all round. Underneath all the bombastic is quite a political message, but it also says fuck it. Just live it up, drink, smoke and do cocaine. For me, the song doesn’t come alive until the outro. Liam singing that last verse with attitude and a snarl. I also like the guitar solo in the outro.
Digsy’s Dinner:
This is an ode to Noel’s friend Peter ‘Digsy’ Deary from The Sums. Although Digsy is not mentioned in the song, one of Digsy’s anecdotes about lasagna is. It is a short, cheerful, piano-based cheesy sing-a-long. The way Liam elongates “lasagna” is very clever in keeping with the guitar melody but also quite funny. The live performance of this song is where the real excitement lies. It is much better live.
Slide Away:
An ode written to his then-girlfriend. Unfortunately, she left him not long after because she believed he was going nowhere. Ha. The jokes on her. I would describe it as a melancholic love song. Noel recorded this on a Les Paul loaned by Johnny Marr. I love Liam’s sustained vocals on the chorus. The song is great, but you know the genuine emotion behind it when it’s stripped back.
Married with Children:
Noel was writing and a the television show sharing the same name as the title happened to be on. The song itself centres on pettiness when sharing a home with a lover. I have had debates over Liam’s current vocals, and how they have declined, and when they ask “why?”, I point them in the direction of this stripped back track. His vocals are angelic and on point. Many have said Liam is a monotone vocalist, but I refute that when you hear this. Liam at his very best.
Overall:
How do I write this? I’ve already lauded the album countless times within the review. You can understand why it is considered the favourite Oasis record for many, including myself. Noel has mentioned he loves it and has been playing it constantly on its 30th anniversary. “Definitely Maybe” is about escaping the usual shit we face and longing for a better life with sprinkles of optimism. An exquisite sound hides the melancholic lyrics (sometimes cheerful). The record also signified what was to come for Oasis. All of these songs are brilliant live. It was strange, yet pleasing to hear ‘Married with Children’ electric. I may not have touched much on where the punk is on the album. It’s all over. From the defiant lyrics and punk rock instrumentation to Liam’s snarling. I don’t know what to say if you cannot hear that in songs like ‘Rock n Roll Star’. There is a reason this record has stood the test of time. I don’t think I will ever tire of listening to it. It’s apt that a record that inspired hope 30 years ago has returned to the summit as we are now back in the same political situation. We need something to raise our spirits and return to feeling hopeful.
Song recommendations: ‘Live Forever’, ‘Rock n Roll Star’, ‘Married with Children’
I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.
I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:
Taste:
We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.
Please Please Please:
It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.
Good Graces:
I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.
Sharpest Tool:
Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.
Coincidence:
It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.
Bed Chem:
Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.
Espresso:
Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?
Dumb & Poetic:
Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.
Slim Pickins:
Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.
Juno:
I was unaware , this song is a tribute to the 2007 film ‘Juno ‘, that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.
Lie to Girls:
The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.
Don’t Smile:
The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.
Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’
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’
Gracie Abrams’ journey into music started when she was five when she picked up her father’s electronic drum pad. It would lead to touring with Taylor Swift almost 20 years later, where she would be the opening support act for Taylor on her “Eras” tour. As you already know, the other support act was Sabrina Carpenter. I could only imagine that Gracie must have been looking out at the packed stadiums, astounded by the experience, which she probably thought might never have happened once, let alone 30 times. She would write her first song three years after being drawn to her father’s electronic drum pad. That eventually led to the Grammy nomination for Best New Artist. This year, she also made her television debut by performing on the Tonight Show presented by Jimmy Fallon—a far cry from her debut live performance back in 5th grade at school.
Back in 2020, she hosted a modest concert over Zoom when the world was locked down due to the pandemic. The venue was her childhood bedroom, and the performance was viewed by only 100 people using the application. She described the experience as “weird” and expressed that she hadn’t expected to achieve what she did at that point. Gracie was inspired to play the guitar after listening to the late Elliott Smith. He was a young man with a troubled soul who died (Although no one knows if he was murdered.)before his time, yet he inspired many through his brief career as a songwriter.
During her teenage years, she explored other artists’ music, like Radiohead and The Beatles, and even covered their songs. However, when she came across Phoebe Bridgers on Soundcloud, everything changed for her. Her deep admiration for Phoebe greatly influenced her debut album.
Her latest album, “The Secret of Us,” establishes her as a country-pop icon who emotionally connects with younger listeners. The lead single “Risk” incorporates elements reminiscent of Joni Mitchell, the rebel and poet Patti Smith, and the emotive style of the late Elliott Smith. However, the catchy, pop-friendly chorus offsets the melancholic themes found in the works of these artists.
In her second album, the artist shifted to a brighter and more distinctive sound than her debut, “Good Riddance.” The opening track, ‘Felt Good About You,’ draws inspiration from the jangly guitars reminiscent of Vampire Weekend and Taylor Swift-like choruses throughout the album. In ‘Blowing Smoke,’ she incorporates country tones from Sheryl Crow and Alanis Morissette’s rock attitude. Additionally, there’s a reference to Kate Bush’s iconic song ‘Running Up That Hill (A Deal with God),’ where she mentions the title within the lyrics.
In her debut album, I previously mentioned that Phoebe Bridgers was a heavy influence. This is evident on tracks like ‘I Love You, I’m Sorry’ and ‘Good Luck Charlie’, where her influence is obvious. Jack Antonoff, who interestingly also works with Taylor Swift, contributed his signature production style to the album. Aaron Dessner of The National, who also collaborates with Taylor Swift, co-produced the album, making it more pop-friendly compared to his usual work. This contrasts sharply with his work with his own band. You can hear influences from R.E.M in ‘Tough Love’ and ‘Normal Thing’. The latter sounds similar to Jamie XX. ‘Normal Thing’ stands out to me as favourite, partly because it sounds completely different from the rest of the album and is more uplifting with its dance beats.
Let’s face it: Phoebe Bridgers is a complicated person to emulate. Only a few artists break through after a debut album. Usually, it’s the second album onwards, where you iron out the mistakes made on the debut. Gracie has achieved this on her second album, and it is a far cry from sitting in her room learning to cover iconic songs from the artists and bands she listened to as a teenager. You can see she borrows elements from all of them to create her own identity. Her parents’ musical tastes can also be heard on the record, but her music is a blend of Taylor Swift and Phoebe Bridgers. Taylor Swift also appears on ‘us’, which reflects this. The experience of being on tour with Taylor has inspired her songwriting for this album, and she has more confidence in her delivery. The vocals are a lot stronger. This may not be her most iconic record, but it lays the foundations for the future.
Song recommendations: ’Normal Thing’, ‘I Love You, I’m Sorry’, ‘Risk’
Billie Eilish has released another album, produced by her brother Finneas. I respect him more because he is the complete package. The latest record is titled “HIT ME HARD AND SOFT” and has received positive feedback.
The album undeniably carries Billie Eilish’s signature style but also introduces something new and distinctive compared to her previous work. It is much more chilled out, yet she displays anger simultaneously. The album has an aquatic feel. What do I mean? It’s hard to explain exactly, but it has an element of being under the sea. Billie and her sibling FINNEAS somehow churn out earworm songs that inevitably turn into hits. The chemistry between them in creativity is something to behold. Somehow, they never lose that momentum.
Whether the albums are unimaginative is beside the point. She and Finneas always bring something fresh to their music while staying current with pop trends. At least one song will always resonate with the listener somehow.
As an experienced vocalist, she has changed her style. You can hear her elongate crescendos or hold her words longer at the end of phrases. This shows that she has adapted and gives her more room to keep the listener’s attention with originality. However, there is a balance; she stays moderate with this newfound skill. There’s nothing wrong with that, but it would make the listening experience rather weird.
Recently, Taylor Swift released ‘The Tortured Poets Department,’ a record that has prompted comparisons with Billie Eilish’s latest work among her fans. Many argue that the production in Taylor’s album is ‘lacklustre’ compared to Billie’s. However, it’s crucial to highlight the unique collaborative process between Billie and her brother, FINNEAS. FINNEAS is credited with adding distinctive sounds that give the songs more depth and character. His talent for selecting standout sounds allows Billie to focus on her vocal delivery and lyrical content, with her brother leading the production. Additionally, FINNEAS occasionally contributes to the lyrics and provides backing vocals, showcasing the true essence of their creative partnership.
Of course, let’s not idealise the album too much. I might be praising Billie and Finneas, but sometimes the production needs to be less laid-back, which can make your mind wander. The lyrical content remains strong, and despite the underlying anger, the vocals match the tempo of the songs, creating a false impression of mellowness when the lyrics suggest otherwise. The young lady who currently dominates the UK singles chart with ‘Espresso’ will be releasing her 6th studio album soon, posing a challenge to artists like Billie and Taylor Swift. Sabrina Carpenter may have only recently gained attention, but she is ready to compete with Billie, Taylor, Miley Cyrus and Ariana Grande. I witnessed her growing popularity firsthand. Supporting Taylor during her “Eras” tour last year has also bolstered her fanbase.
Song recommendations; L’Amour de Ma Vie, Chihiro, Bittersuite
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’
The media has been excessively hyping up Beyoncé’s latest album, “Cowboy Carter”, which her massive following eagerly anticipated. Despite the endorsement of some well-known country artists like Dolly Parton, Willie Nelson, and Luke Combs, the album fell short of the high expectations.
This is the second part of a trilogy that Beyoncé is producing, and the album features 27 tracks with a runtime of almost 80 minutes. It’s a collection that could have been a country music masterpiece, with big names like Dolly Parton, Willie Nelson, and Miley Cyrus, and Paul McCartney on a cover version of ‘Blackbird’. However, it doesn’t quite live up to its potential.
The 27 tracks are filled with pointless interludes that add nothing to the album. Although some of these interludes are meant to be like radio DJ introductions, they add nothing to the album but make it feel like a tough listen. I wish there were more complete tracks instead of these inane interludes. By the time I finished listening to the album, I was relieved.
There are a few good moments on the album, such as the lyrical content and the guitar and harmonica played by Stevie Wonder on the ‘Jolene’ cover. However, using autotune on some tracks didn’t work for me, and Post Malone’s track with Nile Rodgers was also a letdown. I didn’t like the cover of ‘Jolene’ either. It didn’t do justice to Dolly Parton’s original version.
In conclusion, I didn’t enjoy “Cowboy Carter” and wouldn’t recommend any specific tracks. The album isn’t worth the hype it’s been receiving, and I am disappointed with its overall quality.
Take That came to dominance in the 1990s and drove teenage girls and young women wild. The band split in late 1996 before reforming again in late 2005 without Jason Orange and Robbie Williams. Robbie would rejoin the band in 2011 (I think) before once again leaving and recommencing his successful solo career. During the band’s 9-year hiatus, Mark Owen had a brief solo career. Howard Donald became a DJ after his debut album was shelved, and Gary Barlow released about four solo albums but had more success as a songwriter. The band reunited for a Channel 5 early-2000s documentary at a country manor to talk about the band without Robbie, who did leave a video message addressing each member. As we know, from there, the band reformed to release material and perform live again. The band is more democratic nowadays, with each member taking the lead vocals.
They made their debut appearance recently on Later…with Jools Holland, where they played two songs off “This Life” and said that the album, which was recorded in Nashville, was inspired by the country scene. I will later explain what I thought it sounded like.
“This Life” comes six years after “Wonderland”. Of course, there has been a greatest hits collection, a live album of their greatest hits, and surprisingly, a musical, which became a film released in the summer starring the Irish comedian Aisling Bea. The band have already sold out a staggering six-night residence at London’s O2 in April next year for the upcoming “This Life” tour. We are currently in the era of nostalgia, so this is no surprise. Take That, as we know, has a fantastic song catalogue, making recording new material a challenge because it will always be challenging to match those world-renowned hits.
One thing you will notice with this album is that it needs the singalong anthems we know the band for. I don’t know what chief songwriter Gary Barlow’s thinking is behind this, but he did tell Jools that this is a record that the band wanted to do rather than what the singles chart would dictate. ‘We Got All Day’ is one of the rare anthems on the album that will see the crowd waving their arms or holding their phones/lighters aloft. The final track, ‘Where We Are’, is more of the band revisiting their past glories by making this the record’s ‘Never Forget’ moment, where they sing about how far they have come over a bombastic production.
The album is quite eclectic for the band; the title track is something different. It sounds like a 1970s soap-themed tune with a jaunty piano. As you can imagine, it didn’t chart upon its release. The next track I will highlight is ‘Windows’, one of the songs featured on Later…with Jools Holland, an acoustic track more akin to their fellow Mancunians, the Smiths. They said the song is country, but I got a Smiths-esque sound instead. ‘Time and Time Again’ is the closest I came to hearing anything resembling country music with its relaxed acoustic strumming. ‘Brand New Sun’ was another song played on Later…with Jools Holland, and this one, with its electric guitar solo, reminded me of, once again, fellow Mancunians New Order. If I recall correctly, there is a Peter Hook-esque bassline. Although “This Life” differs entirely from anything they have done previously, you must feel it lacks the anthems we are accustomed to from the band. Despite that, this low-key album will not stop hardcore fans from flocking to their upcoming shows, and therefore, the band can enjoy themselves in the studio and have autonomy over what they want to record.
Song recommendations: ‘Windows’, ‘Brand New Sun, ‘We Got All Day’
Is this the final one of Taylor’s versions? I cannot remember. I recall saying in the first instalment of Taylor’s Version how many she planned to re-record to fuck over that twat who held the original master tapes to ransom.
“1989” was the breakthrough album for Taylor and a firm Swiftie’s favourite. Remarkably, this has inevitably been re-recorded because, as I have mentioned in the previous Taylor’s Version reviews, her vocals are mature, rather than the angry teenager from the originals, and her experience through the years has made the re-recorded songs richer in sound.
As you will recall from the originals, ‘Blank Space’ had a spring effect, which has now been rectified, and ‘Out of the Woods’ has now been beefed up with more reverb. ‘Style’ now has an altered guitar tone as well.
Of course, as mentioned several times by myself over all of these specific reviews, I have been impressed with her more measured vocals, and they particularly stand out on ‘Clean’ and ‘I Know Places’, where she uses her power. The latter, if I remember correctly, didn’t have much else going for
it. I recall repeated lyrics. Jack Antonoff, who I felt fell on “Midnights”, gets it right this time, especially on ‘I Wish You Would’, and ‘How You Get the Girl’.
As I have also mentioned, I have been a big fan of the “From the Vaults” tracks used for bonus material. I especially liked ‘Is It Over’ and ‘Now That We Don’t Talk’. Although the “From the Vaults” tracks do not seem to synchronise with any of the re-recordings, it doesn’t matter much because they indicate how far Taylor has come as an artist and songwriter.
Song recommendations: ‘Is it Over’, ‘How You Get the Girl’, ‘Clean’
Honest Opinions 