Punk

Week 36: Oasis- Definitely Maybe 30th Anniversary Reissue

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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’

9/10

Week 8: IDLES- Tangk

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I don’t know how the title is pronounced (Tansk?), but you will be surprised. As I have mentioned in previous reviews, I dubbed the band “Energetic Rebellion”; however, this time, the band have kept some of that but has resorted to talking about parenthood, love, relationships, and political matters. Yes, there were smatterings of romance on the previous records, but this one steps it up to a level I wasn’t expecting. The volume has also dropped to a chilled vibe, matched by Joe Talbot’s relaxed vocals.

‘Roy’, for example, is more akin to soul. The opener, ‘IDEA 01, ‘ sounds ethereal and reminds me of Lana Del Rey’s style of music. ‘Dancer’ is one of the singles that features LCD Soundsystem, and you can hear that on the track. It isn’t of the iDLES ilk.

Of course, let’s not forget the band returns to their routes on tracks such as ‘Hall & Oates’, which is my standout from the record. I felt chilled out until that track came on, and I was shocked back into the room. Joe also aims for the royal family on ‘Gift Horse’, declaring his daughter is more important than someone in a bejewelled crown.

I know this album will have many mixed reviews because we expect the band to be full-on energetic rebellion, but this one takes it easy, and some people will hate that they have. For all that, the band have shown they can escape their comfort zone and show versatility. As I said, it is a record that is full of surprises. I certainly didn’t expect it. I would describe it as the band rolling a joint and taking it easy as they enjoy the weed. You could also say the band is on a comedown after experiencing an energetic high. One good thing from this is that the band will no longer be pigeonholed into just one category.

Song recommendations: ‘Hall & Oates’, ‘Gift Horse’, ‘Dancer’

7/10

Week 4: Green Day- Saviors

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My biggest fear for the record was that Billie-Joe Armstrong was going to water down the lyrics like he did recently for ‘American Idiot’ during a performance earlier this month. I wondered why he did that. Was he trying not to offend those referenced as “redneck” in the original lyrics? Or did he just want to let the Make America Great Again movement know he wasn’t a part of their agenda? I was worried Green Day would lose that punk ethos after that performance. However, I am pleased to say that is not the case, and they still have that political drive we know them for.

The opener ‘The American Dream is Killing Me’ sounds very familiar, and that is because it has an ‘American Idiot’ feel, so that’s one of the political songs. ‘Strange Days are Here to Stay’ addresses the use of heroin but also attacks racism, Über, and what the bullshit governments/politicians promise to deliver and never do. ‘Living in the 20s’ was a lot darker than any of the tracks on the album as this talks about mass shootings, which happen frequently in America. ‘Coma City’ also addresses that issue but also attacks police for their unnecessary use of force. All of the above have anthemic choruses and will send the audience wild during live shows. The punk spirit, passion, and fist-pumping will be palpable.

They also take a sarcastic swipe at their generation and nod to the 90s classic film Trainspotting. ‘1981’ reminded me of the likes of Clash and the Ramones. The lyrics reference the Cold War and East Berlin. They even reference the present, especially on ‘Fancy Sauce’, which is tongue-in-cheek.

The record spans across all decades. ‘Dilemma’ sounds like the 50s rock, and if I recall correctly, the last album I reviewed of theirs was pretty much a record packed with that particular genre, which I said, at the time, took me by complete surprise because it was more their cover band  (Coverups)than them. Don’t be fooled by this; the song swings from that to the usual Green Day sound continuously over a hard-hitting subject of addiction. There is also the gender-neutral ‘Bobby Sox’. There is even room for their love of Oasis on ‘Father to a Son’, where the acoustic is deployed over strings and brass, and Billie-Joe talks about the pros/cons of being a parent. Again, there are a few tracks like the above that you think have softer moments, where Billie-Joe adopts the acoustic, but you are wrong. At some point, they explode into action with punk, and ‘Father to a Son’ is no different. It works on the aforementioned track because it conveys both emotions of being a parent.

This album never stops. Like I said, even the gentler, more acoustic moments do not remain ballads, but full-on pop punk. This is the closest album I can think of to “American Idiot”, with its bite, sarcasm, and political and controversial views across a range of topics. Some might say it’s “safe”; I’d say it’s the band at their very best. I am still a fan of “Dookie, though. Nothing will top that.

Song recommendations: ‘The American Dream is Killing Me’, ‘1981’, ‘Father to a Son’

9/10

Week 42: the Rolling Stones- Hackney Diamonds

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

Angry:

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

Get Close:

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

Depending on You:

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

Bite My Head Off:

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

Whole Wide World:

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

Dreamy Skies:

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

Mess it up:

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

Live by the Sword:

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

Driving Me too Hard:

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

Tell Me Straight:

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

Sweet Sounds of Heaven:

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

Rolling Stone Blues:

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

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

Week 36: Olivia Rodrigo- GUTS

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I fucking loved Olivia’s debut, “Sour”(Or is it “SOUR”?). She is different from your usual music star in the charts. She has plenty of fucking attitude and is unapologetic about it. Her debut was outstanding, and that punk spirit and it was definitely refreshing to see the singles chart shaken up by this angry lady. 

She certainly isn’t your usual Disney Kidz star. She doesn’t give a fuck what you think about her. She swears profusely, has a punk spirit, and loves to rock out. “GUTS”, the follow-up to “SOUR”, makes that album look tame. Olivia cranked the amps up to 10, and her attitude and opinions. Like every record, there is a lull and softer moments, but she does go tonto for most of the album. She isn’t here to please her label boss but to tell you her life with no holds barred. She doesn’t give a fuck about being commercially viable. This record is indie to how a label wants their musicians to be.

Olivia grew up listening to her parent’s music collection, which consisted of grunge and rock, and she has incorporated that into this album, but with subjects of dealing with fame, relationships, and other teenage angst topics. I fucking love the opener ‘All-American Bitch’. You hear an acoustic being plucked at the intro and verses before it fucking explodes in the chorus as well as her vocal volume and attitude. The electric guitars add to that effect. I also loved the solo.

‘Ballad of a Homeschooled Girl’, which resembled ke$ha-like songs. You have softly spoken verses; occasional rapping with big choruses is another highlight. As mentioned, there are quieter, more reflective moments, but do not lack the angst featured on the full-in rock tracks. She even shows insecurity about her appearance on ‘Lacy’, an acoustic track, and confesses about being envious of what others see as “Perfection”. The soaring vocals bring that out. As gloomy as it is, ‘Making the Bed’ reminded me of that dream pop sound that we associate with Katy Perry in the late noughties and early tens. Like ‘All-American Bitch’, ‘Vampires’ starts softly with a piano rather than an acoustic guitar before synths and guitars hit you by surprise.

I was slated for rating “SOUR”, but fuck you. This girl is so versatile in her writing. She writes full-on rock tracks to tender piano ballads, and the vocal delivery convinces you every song means everything to her. Her lyrics, at times, also add an element of sarcasm and comedy.

This record is like a person with schizophrenia. One minute, it is full-on, then tame, and then full-on again, repeating a spontaneous tempo. In musical terms, it’s like having iTunes, iMusic, Tidal, Spotify and Deezer on shuffle. You never know what’s coming. Despite that, every record should have heavy and reflective moments. It shows the songwriter’s versatility as well as showing they are human.

Besides the Reytons, the Lathums, Frank Turner, Noel Gallagher’s High Flying Birds and Foo Fighters, the album chart lacks records that spark energy into your ears. Olivia has come along and made the album of the year that deserves to be nominated for the Mercury Prize next year. I wonder if this album will be number one next week. The album chart hasn’t had a mainstay this year yet, and the way music is these days, I don’t expect “GUTS” to break that but fuck me. It is a fantastic yet schizophrenic album. Olivia is a different breed to the new age pop star, which is a breath of fresh air. Another fucking monumental record. We need more musicians like this in the singles chart instead of nodding puppets for the label bosses.

Song recommendations: ‘All-American Bitch’, ‘Making the Bed’, ‘Ballad of a Homeschooled Girl’

9/10

Week 27: Paolo Nutini- Last Night in the Bittersweet

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Paolo Nutini is like buses. Two come along at once. What do I mean by this? Since 2019, Celtic Twitter has enquired about where he was (Lewis Capaldi revealed late last year that they were in the studio working on Paolo's new album, which I am currently reviewing). Then, three years later, "Last Night in the Bittersweet" announcements were revealed, and a tour was announced. I wondered where he was, but I surmised he was busy recording new material. Hence, he is like buses. 

I have been a fan of Paolo's since his debut album, "These Streets". He was offering something different at the turn of the 2000s. No one appeared to make music like that, and it was only as we entered the 2010s that someone had a similar vocal style in Maverick Sabre. His debut was followed by "Sunny Side up" in 2009, where his fan base snowballed, which spawned the hits, 'Candy', 'Pencil Full of Lead' (Adopted by fellow Celtic fan and snooker player John Higgins up until 2020 as his walk-on song.), 'Coming up Easy', and the reggae-inspired '10/10'. My fondness for his music grew stronger after an appearance on Jools Holland's Hootenanny, where he performed '10/10' (among others.), and his falsetto vocals echoed those of the late Bob Marley. 

Funnily enough, I thought it was a cover of a reggae song, but to my amazement, it was written by Paolo. However, it sounds like a typical timeless reggae track. 

He followed up the highly successful "Sunny Side up" with 'Caustic Love' in 2014. Despite hitting the top spot, the album had mixed reviews and spawned fewer hits or accolades than its predecessor. 

Amazingly, "Caustic Love" is the predecessor to "Last Night in the Bittersweet". He was still touring until 2018, but that is some gap to wait for the fans to hear new material. That's a gap of eight years. You can understand why his fellow Celtic fans were asking where he was. This record also makes that eight-year wait worthwhile. Paolo is back with the drum banging loudly. It shows his versatility in turning his hand to anything from ska, reggae, country, indie, RnB and soul. His vocals vary across the sixteen tracks, so you get more than just that deep falsetto. 

For example, 'Through the Echoes' sounds like something you would have heard on his previous album, but 'Lose it' is a cross between Fontaines DC and the late Lou Reed. On quite a fair chunk of the album, many Lou Reed-esque songs are complete with spoken word, which Lou was known for. 

I first heard Paolo's new song in the recent series of Later…with Jools Holland, but I, unfortunately, cannot remember when writing what songs they were. However, they sounded different from what I had heard him do—Lou Reed-esque and with plenty of attitude. Seeing him with an electric guitar over his shoulder was also refreshing.

The same goes for 'Acid Eyes', another song wedded to rock, sitting nicely with Paolo's vocals over bombastic drums. I look forward to seeing some rockier songs added to his setlist on the current tour.

I told many of my peers to listen when I heard the album because it isn't your typical Paolo record. This album has attitude, punk spirit and rock n roll lashings. Even fleeting moments resemble the sounds of the Stone Roses, so Paolo returned to his musical influences as a teenager. 

It doesn't get much recognition because of his vocals, songwriting and mellow acoustic playing. Still, he is a good guitarist with the electric guitar and can match any lead guitarists who play to an excellent level (We are excluding the late Jimi Hendrix here), which is no more evident than on this record.

It has been worthwhile waiting for Paolo to release the successor to "Caustic Love". Sometimes, such a long wait leads to an anti-climax, but he has returned, and don't you know it? The songwriting, guitar solos, spoken word, vocals, topics, and instrumentation are fabulous. It is going to be extremely exciting to hear these songs performed live. I doff my cap to you, Paolo. It is an outstanding record, and if you produce the next one like this, you can release that in eight years, too.


Song recommendations: 'Lose it', 'Through the Echoes', 'Heart Filled up'

9/10

Week 15: Wet Leg- Wet Leg

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Yes, I know it is yet another cliché moment. I DID discover Wet Leg while watching Later…with Jools Holland in November last year. 

They performed their famous hit ‘Chaise Longue’, which I found extremely funny for its lyrical content, but I also loved its raw, punky sound, and the ladies singing had those typical punk vocals.

The duo hails from the Isle of Wight and consists of Rhian Teasdale and Hester Chambers. Of course, other members feature on the album, but they are regarded as session musicians and touring members. 

Going back to ‘Chaise Longue’, it was refreshing to hear a track that wasn’t by some fucking idiot who has no business in music just because their song went viral on TikTok because of some shit dance craze. ‘Chaise Longue’ is known for its bassline and guitar riffs instrumental-wise, but the lyrics are delivered with deadpan by leading vocalist and guitarist Rhian taking quotes from the film Mean Girls. Like I said earlier, I found some of the lyrics quite funny, especially the one about going to school and not learning anything but having sex (Listen to the song. You know what I mean.). The chorus wasn’t that great, with “On the Chaise Longue” repeated throughout, but somehow, it becomes a catchy hook that adds to the track.

I then listened to the band via live performances on YouTube during the earlier part of this year, and I was highly impressed by what I heard. The songs are short, but whereas some might describe them as Indie, they have more of the punk spirit. Funnily enough, I felt like I was listening to Amyl and the Sniffers sans the Australian accents.

I saw a tweet from the duo saying their self-titled debut was about to go to number one, and I was delighted to hear what the album sounded like. Unfortunately, I didn’t have to listen much because I had already heard the songs featured on their promotional tour. However, I checked out the streaming figures on Spotify and was amazed that they had amassed 13 million streams! I could not believe just how widespread this duo was when most of the videos on YouTube were them playing in dinghy bars and pubs. Although they have yet to do any significant events or play at big venues, they have done the Late night chat shows in America and were voted runners-up in the BBC Sounds of 2022 poll. Because of ‘Chaise Longue’, many will say that Wet Leg might not be more than just a fleeting moment. However, I disagree with them. The duo have other songs in their arsenal. Okay, they might be on the same level sonically and lyrically, but it is more than just one hit.

Okay, I may have gone overboard saying they are punk. They are like a soft version of punk. You can’t even say they are pop-punk because they sound nothing like bands like Green Day. They remind me of Lush, who were around in the 90s (If you can’t remember, there are videos of their performance of ‘Lady Killers’ on the short-lived Channel 4 show, the White Room. They have that same element of punk. I wouldn’t call them energetic rebellion as I have done for IDLES or shame. Staying with punk, their producer for the debut happens to be Dan Carey, who has produced for Fontaines DC, no less. You’re always onto a winner when Dan is involved. I recommend it if you have yet to hear Fontaines DC’s first two albums. The only difference between Wet Leg and Lush, I will even throw in Shampoo (Remember ‘Trouble’?) into the mix, is that the lyrical content is more based on 21st-century themes. 

For example, ‘Being in Love’ over punky guitars turns to delicate strumming as the song changes the subject mood. So, the music goes from, I imagine, Rhian/Hester or both being infatuated to them suffering from anxiety about the possibility of being hurt. The second example is ‘Too Late Now’, which, funnily enough, closes the album, whereas ‘Being in Love’ started it. This time, however, the girls feel alone and fret about missing out on opportunities. There is even a breakdown in the track where Rhian says, “I’m not sure if this is a song/I don’t even know what I’m saying/I’m not sure if this is the kind of life that I saw myself living” Now, I am not sure if she is talking about that music wasn’t the planned destination of her career, but it is powerful nonetheless.

You then have the psychedelic element on ‘Don’t Wanna Go Out’, like David Bowie’s ‘Hallo Spaceboy’.Although, Rhian talks about being in their late 20s and still living it up. ‘Angelica’ is about a girl at a party who thoroughly hates the idea of being there, and ‘Oh No’ seems to be about an individual trying to control a panic attack.

There are, of course, the punk tracks, which I mentioned earlier (Not the tracks. The element.) ‘Supermarket’ made me laugh because who hasn’t been stoned while shopping in one? Especially when you got the munchies. Then there is ‘Wet Dream’. That one doesn’t need a genius to work out the theme. Songs like these are more sinister than ‘Chaise Longue’, but their wit remains. One line that made me laugh on ‘Loving You’ was “I hope you choke on your girlfriend”. 

I also have to big up ‘Ur Mum’ just for the title alone, but the song is hilarious and reminds me of when I was young and using it as a light-hearted insult. That was my favourite, and it has been my favourite since I watched them perform a whole set via YouTube. 

I loved their debut. Okay, I didn’t have to listen to much of it because I had heard most of the songs performed live before its release. But it is an enjoyable, witty, sarcastic, punky record. The only qualm for me is that it needed to be longer.

Song recommendations: ‘Ur Mum’, ‘Supermarket’, ‘Loving You’

8/10

Week 7: Frank Turner- FTHC AKA Frank Turner Hardcore

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I first heard about Frank when he followed me on Twitter. I must confess I had yet to learn who he was or what kind of music he did until after that follow, in 2010. Despite watching his journey unfold since the 2010s, I learned this is his NINTH Album! The record initials stand for ‘Frank Turner Hardcore’, and I remember when Liam Gallagher described his debut album “As You Were” was going to be “Rock out with your chin out”…well, Frank’s undoubtedly is that. It is so far removed from “No Man’s Land” and “Be More Kind”. I cannot recall many acoustic and soft moments.

Following the previous paragraph, Frank hurls himself into the moshpit with the ‘Non Serviam’ opening track. It blows your ears off from the first note, and you hear Frank’s punk vocals. That caught me off guard when I knew Frank’s music to be more reflective and soft. It was a surprise, but a fucking nice one. He then launches himself into ‘the Gathering’ like he has jumped on a Kawasaki Ninja, weaving in and out of lanes and overtaking other vehicles on the M1 North and South when it is the dead of light, and you have the freedom to tank it. Once again, it doesn’t fit in with Frank’s back catalogue, but you can hear he has been fucking pissed off with having his livelihood taken away from him for over two years. He is returning with punk fuel inside him. You can hear the aggression in his vocals and the frustration pouring out of him in every bar and expletive.

I look forward to hearing the first two tracks and the energy he will bring when I see him perform. The softest track I could find on the record was ‘Haven’t been Doing So Well’, but don’t let that fool you. Frank is still bringing that punk, energetic rebellion sound.

However, Frank’s work is slightly milder than generic punk and rock. Of course, it is much punkier than his usual work, but that’s where it ends. Not that I am complaining whatsoever. Listening to Frank let rip and put the acoustic away was nice. Why do I say it isn’t like generic punk? The guitars are not as raw as you would expect from generic punk. There is no IDLES, Ireland’s Fontaines DC, or even Amyl and the Sniffers who bring that punk energy to their songs. You could add shame to that mix.

 Another thing I noticed is that the vocals seem to overpower the production, which takes away that live element that Frank was trying to bring across. Indeed, sometimes I struggled to hear those screaming guitars, thumping drums, and crashing cymbals. Frank was in a band called Million Dead from 2000 to 2005, and it is a slight return to those days with the production and the vocals full of angst and yelling. Only a little bit more constrained. 

At the start of this paragraph, I will mention what makes this “Hardcore”, as Frank puts it in the album title. Well, it’s not really for the sound but more for his vocals and the lyrics. Yes, I am aware that Frank is usually quite melancholic with his lyrics, but he has taken it further this time. Frank appears to be conversing with his past. Especially when talking about his transgender father in the following three songs; ‘Fatherless’, ‘My Bad’, and ‘Miranda’. Let’s begin a summary of the trilogy (If you will.) with ‘Fatherless’. In this song, he talks about being alone due to the absence of his then-father. In ‘My Bad’, he expresses guilt of having the responsibility of carrying the flag for the transgender movement put on him by his father. Finally, in ‘Miranda’, he addresses the fact his father is now transgender. Instead of feeling angry and alienated, he shows solidarity with his father’s decision and says that his father is a proud transgender woman, and his resentment has gradually faded away. He even says the line ‘Miranda, it’s lovely to meet you’ to show he has accepted what has happened. These songs exemplify Frank visiting the past and learning to live with it in the present.

You might say that Frank’s latest record is a bit “deep”. Yes, that may be true, but you will laugh at his witty lyrics, which somewhat take the edge off the subject matter. I enjoyed listening to “FTHC”; my concentration didn’t waver like on some of my reviews because I got bored. The lyrical content, vocal delivery, and production had my full attention. Frank has smashed it with this album, and I look forward to hearing these tracks while the moshers go fucking mental during live performances.

Song recommendations: ‘the Gathering’, ‘Non Serviam’, ‘Miranda’

9/10

Week 41: Sam Fender- Seventeen Going Under

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My introduction to Sam is becoming somewhat of a cliché if you read my reviews and how I appear to discover many artists/bands. Once again, it was through Later…with Jools Holland where one song he played stuck out. It was called ‘Dead Boys’ and was hard-hitting with its content, and I detected a sound used by a big American artist known as “the Boss”. Funnily enough, after delving for more information, I discovered that the young artist I had seen on the programme happened to be a massive fan of Bruce Springsteen and said that he was his idol. It’s appropriate that he is dubbed “the Geordie Boss”. It’s also funny that the Newcastle United fanatic has a surname after the guitar manufacturer. He also happens to use a Fender during his performances. However, he is no relation. Sam released “Hypersonic Missiles” in 2019, intimate about his personal life. This second album goes a little deeper into his teenage years and how he became a 27-year-old musician during his turbulent childhood.

Through those turbulent times of seeing his mother leave when he was just 8, being kicked out of his father and stepmother’s house, returning home to live with his mother, being talked out of selling drugs to help support his mother and being bullied at school for being obese, Sam has built a strong character through writing and playing and overcame those obstacles. He talks about having his heart shattered in a teenage relationship and how he pretended she was dead so that he could move on. He touches on the loss of his grandmother and writes from the perspective of his father, who hid away the pain, but Sam could see he was devastated. In the latter instance, Sam is akin to Stereophonics frontman and chief songwriter Kelly Jones, with the ability to speak in the third person.

Sam now knows what category his music belongs in with this record. Anything from Bruce Springsteen-style rock ballads to upbeat punk, complete with vocals from the heart. It is almost weird to hear his Geordie accent when it comes through on the tracks. Sam’s vocals sound like any region or country does not define them. They appear to be from deep within his body. Sam is from working-class Newcastle and isn’t afraid to show those roots as he calls out those in power for destroying the livelihoods of the working class. Sam mentions protests and wealth gaps on the punk-themed ‘Aye’ among other political issues.

Sam even throws in some jazz on ‘Mantra’, which is more instrumental than vocal. There is a slow build-up over the verse on the opening title track before the drums make a bombastic entrance. More instruments enter the phase, as with the guitars that can be heard at the introduction and the drums after the verse. The chorus is strange; I couldn’t identify it because there’s no clear indication there is one or much of one. The song is a lyrically remarkable story detailing his life from school to adolescence. There is a horn section reminiscent of Bruce’s E Street band, but that should come as no surprise for Sam’s inspiration for starting as a musician.

My favourite might surprise most people who listened to the album. It is ‘Angel in Lothian’ where Sam wishes an Angel in Lothian would save him during his dark times growing up. He talks about how he felt hopeless watching as his mother suffered from the pain that rendered her unable to work. Still, he was too young to help her and how living in North Shields affected his older brother Liam, a singer-songwriter who plays drums and piano. In the final chorus, Sam again wishes an Angel in Lothian would fix the problems he couldn’t and that when he has his children, they won’t suffer the upbringing he had or even the same health problems.

Like his beloved Newcastle United, Sam’s career can only improve, and his stock in America will surely rise as they recognise the Bruce in this highly talented North Shields lad.

Song recommendations: ‘Angel in Lothian’, ‘Seventeen Going Under’, ‘Aye’

8/10

Week 38: Manic Street Preachers- the Ultra Vivid Lament

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That’s more like it. Some music I can tolerate and enjoy listening to. None of this autotune bollocks. Manic Street Preachers, who isn’t a fan? I have enjoyed listening to this band since 1996 (Yes, I was a bit late to the party. Coming along after ‘A Design for Life’.)However, I have enjoyed many of their songs from the beginning to the present day and have seen them perform live on a few occasions and several times via YouTube. I have watched plenty of documentaries on them and, of course, the curious case of the missing ex-lead guitarist and ex-chief songwriter Richey Edwards. The Manics, known affectionately by their loyal fanbase, have evolved from full-on punk to indie pop-friendly hits to just being part of the music industry furniture. The band has been around since 1986 and has never shied away from political matters. Indeed, many of their songs involve some political message, and the 2014 album “Futurology” expressed this while being more ambitious with their songwriting, now led by bassist Nicky Wire.

There is a particular song off the record that I will describe as “delicious” with its message shortly. You could say that the Manics have got more political yet ambitious over the most recent records, and this album doesn’t stray too far from that path. Of course, their most recent record, 2018’s “Resistance is Futile”, gave Nicky Wire plenty of ammo to use regarding current affairs, so Nicky was never short of ideas on what to talk about. However, while “the Ultra Vivid Lament” is politically charged, Nicky reflects in tracks like the opener, ‘Snowing in Sapporo’, and even the fast-paced, ‘the Secret He Had Missed’ has a sprinkle of melancholy. When you listen to the second disc full of demos and one’s with just Nicky’s vocals and an acoustic guitar, you get a real sense of how melancholic and reflective the album is. I also noticed that most of the tracks feature an acoustic guitar, which I found quite surprising for the band. One of the latter tracks featured Julia Cummings and is what I would describe as a typical Manics track with its full-on rock and James Dean Bradfield’s in-your-face vocals.

The band have taken it back to their youth and has taken inspiration from the music they used to listen to. Particularly in the 1980s, which is evident in ‘Quest for Ancient Colour’. The first thing that caught my ear was how it sounded like a Simple Minds track, and I thought it might remain like that. Of course, Manics added their originality to it as well. My standout, though (As mentioned earlier without the title.), is the brilliant ‘Orwellian’. It describes perfectly the shitstorm we are all caught up in at the moment, which of course, the great late George Orwell said would happen as the years went by. I also love the attack on the useless prime minister and the current government. Once again, a particular party is never too far away from the sighter on the Manics sniper. I also recommend listening to the second disc. 

Particularly Nicky’s version of ‘Don’t Let the Night Divide us’. Although Nicky’s vocals could be better, the message and delivery bring home the message. I have seen many pan this album saying that the Manics should give up and tour their back catalogue, but I am not on board with that opinion at all. I liked the record, and I don’t care if there is an element of the kind of songs Blossoms make (Because there is.), so shoegaze pop. It deserves to be their first number-one album for 23 years, which is remarkable when you consider just how strong their lyrical content and sound are. Indeed, it is an injustice not to have scored a top spot since the brilliant and very much still relevant “This is My Truth Tell Me Yours”. They were right. If we tolerated it, then our children would be next, and that is sadly looking more like the case now.

Song recommendations: ‘Orwellian’, ‘the Secret He Had Missed’, ‘Don’t Let the Night Divide us(Nicky Wire Home Demo)’

8/10