RnB

Week 52: Paul McCartney- III

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What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”. 

Here is my track-by-track review of his latest album:

Long Tailed Winter Bird:

This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.

Find My Way:

Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.

Pretty Boys:

The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.

Women and Wives:

This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.

Lavatory Lil:

This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.

Deep Deep Falling:

It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.

Slidin:

Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.

the Kiss of Venus:

A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.

Seize the Day:

Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.

Deep Down:

Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.

Winter Bird/When Winter Comes:

This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.

Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.

7/10

Week Twenty-Seven: HAIM- Women in Music pt III

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Do you remember that song that sounded like it was from the 1980s, yet also the future? Well, that’s when I first discovered the trio of sisters. The song “Don’t Save Me” was played in every shop I happened to walk in. From there, I found out the artist’s name (Or, in this case, a band.) and started listening from then on. Anyway, this album doesn’t hold back, as is indicated from the outset. “Los Angeles” begins with a jazz/reggae/Cuban sound. “3AM” starts and ends with a phone conversation between a man and a woman over with RnB song straight out of the 1990s (You know? When RnB wasn’t shit?), “the Steps” is a country track with a bassline that is akin to Joy Division, New Order, the Cure and Monaco. “I Know Alone” shocked me because I could see myself including this in my garage DJ sets as it is very much like garage, “Up from a Dream” has a Goldfrapp sound, “Hallelujah” is your typical country song and “Summer Girl” samples the late Lou Reed’s “Walk on the Wild Side”.

The record, to me, has been given artistic freedom; it is an array of genres that the sisters are keen listeners to. It is also a middle finger to the music industry itself, which seldom gives artists freedom when recording songs and albums. They constantly push the artists to create music for the charts and follow a trend, so seeing the Haim sisters being allowed to a record that suits them is refreshing.

They also attack a particular music magazine journalist who interviewed them about their gender rather than their music’s brilliance and obvious talent. I’d listen to that track; it’s called “Man from the Magazine”.

Songs recommendations: “I Know Alone”, “3AM”, “Man from the Magazine”

9/10

Week Five: J Hus- Big Conspiracy

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4000

It has been a very testing time for the vocalist from Stratford since the release of his debut album “Common Sense”, which charted at No.6 in the main chart and secured the top spot in the R&B chart. However, on this record, he doesn’t really talk about any of his personal problems during the past two years or so. If anything, this record is much wiser for a kid that is only twenty-three years old. Whatever it is that he was dealing with has seen him come out on the other side with a more mature point of view of the world. The debut was more spontaneous and had a sense of “I’ve made it, so I am going to have fun and live fast” attitude to it, whereas his follow-up shows more of his talents, and that he feels a lot more comfortable with the direction, he is heading in with his music.

You notice this from the title track alone and understand the hyperbole surrounding J Hus. Another thing I particularly like about the record is how the producer TSB has made it feel more like a live performance than a recorded record in a studio. I will need to check if the tracks were performed as a live show (albeit not to the public.) rather than the usual method of recording these days. Although this may be his record, the performance of icee tgm catches my ear on the opening two tracks. Especially on “Helicopter”. I recommend looking out for this talented female vocalist in the coming year.

She is not the only artist to be collaborating on the record. J Hus has opted to showcase himself more and use only three collaborations with icee tgm, Burna Boy and Koffee. Although some tracks have pop elements to them, their references to guns and sex, like “Play Play” and the very comedic “Cucumber”, might not be deemed radio-friendly enough for the mainstream singles chart.

As the album goes on, it gets darker and darker. I liked “Deeper Than Rap”, as you get a real insight into J’s life through the piano instrumental accompanying his autobiographical story. What is especially good about this record and why it deserved the top spot is that it blends all the sounds associated with the UK through the decades. It is ranging from Jungle, Drum & Bass, Garage, Grime and so forth. With Stormzy and now J Hus already scoring No.1 albums this year, it raises the stakes for other Grime artists to emulate.

9/10

Week Thirty-Six: The Script- Freedom Child

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the-script-freedom

Frontman Danny O’Donoghue and Mark Sheehan have known each other since childhood, so, as you can imagine, history adds to the chemistry before drummer Glen Power was recruited. Still, the harmony was already set in place, so it didn’t cause any problems with him joining and helping the band further find their wall of sound and identity. Quite predictably, the band scored number one with their debut album back in 2008 in mother Ireland, with hits such as “We Cry”, “Breakeven”, “the Man Who Can’t be Moved”, and my favourite off the self-titled debut album, “the End Where I begin” not just capturing the attention of their homeland, but the world over. The style of music they are famed for doesn’t just revolve around one genre, but quite a few blended, which is pop, rock, hip-hop and r&b, and helped with their sophomore album from 2010 titled “Science & Faith, and then their third and fourth albums, “#3” and “No Sound Without Silence” released in 2012 and 2014 respectively.

On their latest record titled, “Freedom Child”, the band have decided to experiment and take up the challenge of adding different sounds to their tracks and choosing to head down the electronic route this time (No, not the band from the 1990s co-fronted by Bernard Sumner and Johnny Marr). So, after the band took a short break from the scene, have they become rusty, and does this new direction to their sound work for them, or is it a gamble that didn’t pay off?

The record takes no prisoners and is honest, noble and positive. Of course, you are wondering if there is the trademark originality that we’ve become accustomed to with their sound, and the answer is, yes, it is still there but with electronic pop blended into it. Will you love it or hate it being a fan of theirs? Well, it is like marmite, so the choice is entirely yours. Give it a chance, though, because it is still an excellent record, and the message conveyed within the record is their usual love over hate.

The intro is very refreshing indeed. Almost like the band were recording on a cassette recorder as you hear the tape being into the player, and then a bass riff that becomes lodged into your head follows. The record then starts with “No Man is an Island”. A third-person perspective tells the band that regardless of how they feel, he/she is there to help them through. It is noticeable that Danny’s vocals have matured and improved since the previous records as he sings along with the electronic reggae sound.

The next track I will talk about is “Arms Open”, your more traditional song for the Script, where the stripped-back sounds elevate Danny’s vocals while the listener can relax and feel at one with themselves.

I also liked the catchy “Deliverance”, a Sonic Youth-type song with pop added in. It is highly bass-heavy, but it has a fast tempo to capture your soul and make you feel the music instead of losing interest. I also loved the political messages conveyed in this record. Especially the track “Divided States of America”. The name even screams political and controversial as you know, it will be aimed at the current president, Donald Trump. This track encourages everyone in the States to notice what is happening and unite during these times rather than fight against each other. 

The sound used is entirely military-minded as Danny sings over drums that resemble a marching beat you hear at military parades worldwide. He may talk about violence, hate, racism, et cetera on this track, but the ultimate message conveyed to the listener says, “You better reconcile before it is too late, and we become consumed by hate that ultimately end with war and death”.

“Written in the Scars” is an intense track and talks about all the times Danny has been hurt over gently plucked guitar strings that further add to the effect of the subject. The song leaves you with a sense that we should wear our battle scars with pride and how they have shaped us through the years to grow stronger and overcome whatever caused the wounds in the first place. Although a deep track, it is worth noting that Danny sings confidently about the matter. 

This is the standout track on the 14-track album for that very reason. Some of us who have listened to the record might not necessarily live in America (Referring to “Divided States of America”), but we all carry scars from events in our lives that are lessons of life that help us get more robust and wiser when they start to heal. A very sobering track, but a message we can all relate to.

The penultimate track is “Awakening”, which is an interlude with angelic piano sounds that leads you into the closing track, which is also the title track (I’m not even going to divulge what it is called. You should already know if you have been paying attention.), which is kind of like a mantra to remind you to be free, love rather than hate, and always to dream and block out the white noise that surrounds us in everyday life—a very uplifting message to end a very upbeat record.

My only real qualm with “Freedom Child” is that some of the songs could have spent more time in the studio being fine-tuned. Also, only half the album captures your attention, despite the lyrical content and the issues grabbing hold of you. The record as a whole is inspirational and full of honesty rather than being blinded by ignorance, which so many sadly in this world would instead be consumed by, rather than being awake to what is happening. Although I have said that only half the album is worth listening to, several tracks in this review that I have mentioned will capture you and render this album worth a listen and a gamble that has paid off sonically for the band.

8/10

Week One: Little Mix- Glory Days

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You Gotta Not: 

Hello, and welcome to my weekly track-by-track review of the No. 1 albums throughout 2017. Please comment and give me feedback on what you think of my weekly reviews. I will share my honest opinions no matter how harsh they might be, so I am warning you. I hope you enjoy my weekly reviews and wish you all the best in 2017.

Little Mix-Glory Days

Shout Out to My Ex: 

This song celebrates the mistakes you’ve learned from a previous relationship, how you’re defiant with your attitude, and how your ex-partner won’t break you. The Song is laced with irony.

Touch: 

The music reminds me of the latest material by the Danish artist Mø. The song has a very catchy chorus, which is always the best ingredient for a song to become a hit.

F.U.: 

Well, there are no prizes for deciphering the meaning of what “F.U.” stands for. I’m not a fan of this kind of mainstream music, but this song has a rather blues-induced vibe. The lyrics are about hating someone you can’t seem to kick(no matter how hard you try), yet you have managed to be dragged back into falling for them with, as the song mentions, “sweet talk”. It also sounds like it was influenced by songs such as “Unchained Melody” or “Earth Angel” when You hear the sound the lyrics are immersed in.

Oops ft Charlie Puth: 

A nice animated piano riff and melodic whistling introduce the song. The Saxophone also adds nicely to the sound. It is a very upbeat track and falls into what I would define as “classic pop”.

The song sounds like the Calypso genre inspired it. The Saxophone makes an appearance and also Trumpets during the chorus. There is also that classic hook employed (in this case, “na na na”), which I can guarantee will get stuck into your head like most hooks do.

Down & Dirty: 

The song starts with a dance theme before surprising you by going into dubstep and throwing you straight into dance. It sounds familiar to the music associated with lil Wayne’s “Lollipop”.

Power:

The sound of a motorbike can be heard in the introduction leading to excellent, rich vocals in the verse. The chorus falls into the dance genre. The second verse could be better vocally. It sounds more like soft rapping and doesn’t tie into the track’s title; the delivery used wasn’t potent. One of the vocalists chants “motorbike”, which then progresses to a build-up that leads into an instrumental break before the chorus kicks in. The song ends with the motorbike chant again, progressing to a build-up, and then suddenly stops.

Your Love:

I can again hear that the Caribbean has inspired the music. The introduction and verses are relatively mellow, with a steady soft piano riff. The chorus again has that classic pop hook to get the listener’s attention.

Nobody Like You:

A very emotional piano accompanies the vocals in this track. This is undoubtedly the deeper side of the band on the album. It is indeed a departure from the usual music that Little Mix is more infamous for. This is certainly a track worth listening to if you are a deep thinker. I would say that “Nobody Like You” is more aimed at the adult market, and I am sure it will feature during the slow dance moments at parties, et cetera (maybe even as the first dance of the newly married bride and groom).

No More Sad Songs:

This track is a metaphor for life about not letting yourself get down by whatever dire situation you are in but to soldier on through and enjoy being in the moment. As mentioned in the chorus, “I beg you please don’t play no more sad songs”. The chorus lyrics also talk about being wrapped up in the music, and everyone knows that music is an excellent way of healing yourself after any emotional ordeal. Again, this is not a track I associate with the band when I have heard the mainstream charts—another deep number I thoroughly enjoyed.

Private Show:

This sounds like the kind of rnb I listened to in the early 1990s and also featured a saxophone that sounds familiar to the one used in Jennifer Lopez’s “Play”. It is quite an upbeat, cheeky track, and just like a private show, it is too short(the shortest track on the entire album). I would metaphorically describe it as a short but enjoyable lap dance(the lap dance in this scenario being your ears).

Nothing Else Matters:

I remember Metallica had a song with the same title back in the early 1990s, but is this one anything like that classic track? Sonically no. Of course, Metallica is more Rock and Little Mix is more traditional pop. Emotionally? In some ways, it is. The delivery is less emotional than James Hetfield’s, but there are elements lyrically of the emotion that James delivered on that 1990s track. This is a great way to close the album, and since “Nobody Like You”, the album gradually sobers up the listener. The lyrics in the track also touch on the fact that when you’re in a relationship, you’re the only ones who should care what you both think rather than letting others interfere.

Overall Review:

I have to be brutally honest and say that I wasn’t looking forward to reviewing this album due to the fact I can’t stand most of the material that has featured in the singles charts as far back as 2007 and that I thought I would have jumped off a building not very far into this album, but I have surprised myself. I found the album enjoyable and worthy of its current placement in the official UK album charts. The stand out tracks for me were “Power” because I loved the vocal delivery in the first verse, “Your Love”, due to the soft piano riff, “Nobody Like You” shows the band have a very emotional and deep side to their arsenal, “No More Sad Songs” for its metaphorically delivered message, “Private Show” because, it takes me back to my infancy and “Nothing Else Matters” because all of we should heed the message it delivers. 8/10