Have I reviewed Alex Warren before? Probably. I remember discovering him on the radio when ‘Ordinary’ was being played to death, rather than as a social media personality. I imagine on something like TikTok, which I have no interest in being on. He is now considered to be one of the biggest new stars at the moment thanks to ‘Ordinary’. “WILDCHILD” keeps him on the emotional singer-songwriter path, addressing subjects like love, loss, relationships, and, unfortunately, the loss of his father.
I know these songs have deep meaning, but the album just didn’t tingle my ear. Songs began to sound all too familiar. The best examples were ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’. I have since heard some remixes of some of the tracks, and they are better in that form. I was rapidly losing interest by ‘Only Thing Left’ and ‘Won’t Go Back’. I have heard ‘Fever Dream’ too many times now to even care about it. The songs probably had some good stories behind them, but the instrumentation just bored me.
Even though I knew these songs came from real experiences, the album still didn’t grab my attention. Songs like ‘Same Stars’, ‘Passenger’, ‘Rescuer’, and ‘I Miss You More’ started to sound too similar. By the time I got to ‘Only Thing Left’ and ‘Won’t Go Back Again’, I found myself losing focus. Warren might have good stories, but the music just didn’t keep me interested.
My attention only picked up when ‘Last Time’ came around. It is certainly my highlight with its rock edge. Alex should have done more of that, or at least balanced it better, because the record just feels repetitive.
I understand there was a lot of emotion when making the album, especially on the title track, but it ended up feeling like background music to me. It didn’t annoy me; I simply lost interest. Sometimes it’s worth taking a risk rather than being boring.
I’ve always admired Paul Heaton’s ability to blend clever lyrics with catchy tunes, and it’s not fading anytime soon. Most of “Jenius” is fucking great. I love how warm, lively, and full of personality it is, with songs suited for a sing-along in a pub, rather than to listen to in a quiet space.
I fucking love the Celtic-punk knees-up spirit running through it; songs like ‘Favourite Kind of Idiot’ express that, and I’m so fucking proud of Rianne Downey since I first struck up a conversation with her during lockdown. It’s fucking mental to see her on telly or hear her on a record like this; it’s like a surreal experience. Anyway, back to the song: I fucking love the energy, and how the song feels like it would get messy in a pub when it’s played. ‘She Ain’t Pretty’ is another one that showcases that. Paul also moves through folk, ska, country, and pop without ruining the album’s feel.
Like I said, I am buzzing about little Rianne, and she was fucking amazing on this. Her voice is a perfect fit with Heaton’s. Rianne isn’t just a supporting artist, but a key part of the record. She is great on ‘Favourite Kind of Idiot’, ‘I Want the Job’, ‘She Ain’t Pretty’, ‘Do Not Ask Me’, ‘Don’t Lean on Me’, ‘The Whisky Did’, and ‘Before Before’, and those songs wouldn’t be the same without her. Even though she’s not mentioned on the other tracks as a featured artist, she is clearly there. I recognise that voice anywhere.
There are also trademark tracks like ‘Sad Songs and Lawsuits’, which is ska-influenced, and ‘Can’t Get Next to You ’, the opener sets the tempo for the rest of the album. It also has an American pop-punk intro. ‘Jet Black Sky’ is more atmospheric before the album’s catchy and energetic tracks return.
I can’t remember which track it is towards the end, but there’s a nod to the guitar riff chorus of Jimi Hendrix Experience’s ‘Voodoo Child(Slight Return)’. Anyway, all 15 tracks matter; there’s no filler here. Paul hasn’t lost the knack for writing about relationships, drinking, people, politics, and speaking his mind. The lyrics are often observant yet funny, but the production pairs those subjects with lively, fun music.
“Jenius” was fucking amazing. Even when the tempo calms, the album picks up again with that fucking great Celtic-punk energy. My favourites are definitely the ones with Rianne.
I fucking love the record’s warm, funny, melodic, and wonderfully rowdy nature. You can definitely tell that it was a fucking joy to be part of the recording sessions. If anyone hates this, they’re just a miserable cunt. This was an absolute pleasure to listen to.
Song recommendations: ‘My Favourite Kind of Idiot’, ‘She Ain’t Pretty’, ‘Before Before’
The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.
Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.
Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.
‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.
Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.
I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.
The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.
Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’
“Music, Fashion, Film” took me by surprise. I was expecting the usual electronic-influenced sound from Charli XCX, but she tried a bold rock sound. It was very refreshing, despite the album being a bit hit-and-miss.
My recurring issue with her songs is the heavy use of auto-tune. Tracks like ‘2007’, ‘Wink Wink’, and ‘Persona’ are spoiled by it. They all had potential, too. As ‘Magic Metal Montana’. The drum intro reminded me of Blur’s ‘Song 2’, but then the pathetic auto-tune saturates it.
The highlight was ‘SS26 ’, a politically-charged track that captured the album’s energy and confidence. The others were ‘Camera’, ‘I’m Afraid’, ‘Yeah’, and Card Declined’. I’m pretty sure on the latter I heard a hidden track at 2:44.
The closer, ‘No One Lasts Forever’, is something that Phoenix might do, albeit not the melancholic, repeated spoken-word verse on the outro.
Another thing to admire is the artwork. It depicts 3 representatives from the record’s title: John Cale, Marc Jacobs, and Martin Scorsese. Despite the unnecessary use of auto-tune, I liked seeing Charli try something different and try out an in-your-face rock album.
Song recommendations: ‘SS26’, ‘No One Lasts Forever’, ‘Card Declined’
I loved “Foreign Tongues” from start to finish, and the long, long wait was well worth it. There’s nothing nostalgic about it; it’s full of energy and swagger. The grit and attitude are on full display on songs like ‘Rough and Twisted’, ‘Hit Me in the Head’, and ‘Jealous Lover’, which has defined their sound for more than 60 years. The Stones proved they have still got the ability to write catchy, memorable rock songs with tracks like ‘Mr. Charm’ and ‘Divine Intervention’
I loved how fun the album was. It never feels forced or tired. It sounds like a band enjoying themselves. Andrew Watt has done a great job with the production, with the songs sounding fresh and powerful, but still preserving the unmistakable Rolling Stones sound. Mick’s Jagger’s vocals are top drawer, and the rest of the band ride on the brilliant production.
Usually covers are a bit of filler on an album, but the versions of Amy Winehouse’s ‘You Know I’m No Good’ and Chuck Berry’s ‘Beautiful Delilah’ are done justice. Amy’s one is done with a bluesy swagger, and Chuck’s is a nod to one of the band’s greatest inspirations.
This record just sounds better with every listen. Energetic, strong, and plenty of memorable tracks. It has to be the best album from them in recent times. Can you imagine what they’re going to sound like live? I can’t fucking wait.
Song recommendations: ‘Hit Me in the Head’, ‘Jealous Lover’, ‘You Know I’m No Good’
I cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.
My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy. ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.
‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.
The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.
What I fucking loved about the record was that the songs had that live energy. They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.
This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.
Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
This Dolby Atmos 50th anniversary edition of “Wish You Were Here” may appear to be a cash grab, but underneath the surface, that isn’t the case. The bonus material, which I will discuss later, has been carefully selected. The album’s emotional weight has been enhanced by the clarity and space, so all the emotions expressed with newly resonant without losing the original spirit.
My highlights from the new version include ’Shine on You Crazy Diamond (Parts 1-4)’, which benefits from the expanded soundstage, with its synths and guitar lines gradually blossoming, making it more immersive. I also like the new version of the title track, which brings the acoustic textures closer to the track’s emotion. ‘Welcome to the Machine’ is precise and more imposing, with the mechanical elements more defined, and the final track I will mention is ‘Have a Cigar’ because the use of the improved separation gives it more bite.
I feel the bonus material only enhances the latest edition of the album. We have a new mix of the record, remastered and using Dolby Atmos, and unreleased tracks from a live concert at the LA Arena in 1975, that offers a raw edge of the band improvising onstage. There are also alternate and early versions that show how the sound has progressed throughout the years. This helps take away the idea that this edition is just a “cash grab” or “filler,” because every version has substance.
“Wish You Were Here 50” celebrates the anniversary respectfully. The new versions brighten the tracks, and the bonus material adds texture and context. It is a must-have for Pink Floyd connoisseurs, and Dolby Atmos will introduce a younger generation of listeners to the band. My one gripe with it, and to be honest, it is to be expected of them, is that the songs are very long. There are Dolby Atmos versions and live tracks that run over 25 minutes. Pink Floyd connoisseurs will adore it because it shows off the band’s prowess, whereas a casual or new listener may find it a bit too much. There are also long intros, where the first lyrics are sometimes delivered at the 8-minute mark. As for the record, the songs remain the same, but with the element of Dolby Atmos, they have never been more clearer. You hear everything, and it’s glorious.
Song recommendations: ‘Have a Cigar’, ’Shine on You Crazy Diamond (Parts 1-4)’, ‘Wish You Were Here’
This collaboration between Aerosmith and YUNGBLUD for “One More Time” just doesn’t do it for me. I feel it’s a mismatch. I quite enjoy listening to YUNGBLUD and hearing his interviews, but unfortunately, I just can’t stand Aerosmith, and that includes ‘Walk This Way’ with Run-DMC. Never understood the hype around them. Because of their presence, the EP is spoiled. The raw energy and deep lyrics are lost among Aerosmith’s trademark sound, and therefore make YUNGBLUD’s contribution redundant. The blend hampers YUNGBLUD, and his statement gets lost amid outdated production, making this short listen laborious. If, like me, you’re not keen on Aerosmith, this EP isn’t for you. I won’t be recommending any track because I didn’t enjoy any of them. I will give it a 5 for YUNGBLUD’s contribution.
