Rock

Week 7: Foo Fighters- Medicine at Midnight

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Here is a track-by-track review of the band’s latest album:

Making a Fire:

Some might say it is a typical Foo Foos track, but not quite. Although you have the usual elements that make that up, I would also classify it as “cheesy pop”, including its hand-clapping and “Na na na” refrain. Despite the element of cheese infused with regular Foo Fighters, it is a very upbeat track.

Shame Shame:

The band recently played some of the material for some lockdown sessions, with this included, so the listener should be familiar with it. We go from a pop chart-friendly song into a full-on rock that will make the setlist when the record is toured, I’m sure of it. The track in question was also used to promote the album and has had an astronomical amount of airplay, which saw it rise to no.1 in the Rock chart in America in record speed.

Cloudspotter:

This one is not a track I associate with the band; I am struggling to think of a song where they have gone into something the likes of the Jimi Hendrix Experience or Led Zeppelin would have made. Yes, this song is inspired by the psychedelic rock of the 1970s. Greta van Fleet would put this on an album rather than the Foo Fighters. It is brilliant that the band has decided to experiment on the record and made a song ready for the floor. Now, I mention him quite a bit in every review, but has the band drawn inspiration from the likes of Noel Gallagher to step back into the 70s and make music with an upbeat vibe?

Waiting on a War:

You think this track is purely acoustic, but as it swells, it turns into a full-on rock track that will shake the foundations of the arenas, especially with Dave Grohl’s in-your-face vocals.

Medicine at Midnight:

The title track is undoubtedly experimental, where the band dips into funk, acoustic, raw sound, and just like “Cloudspotter”, another song ready for the disco. I’m curious if the fans who know them for the natural rock sound will be impressed, but the band has shown how versatile they can be.

No Son of Mine:

They take it back to what the people have come to love them for with this punk-fuelled track sprinkled with Motorhead, whom they are highly inspired by. Indeed, the late Lemmy had joined them on stage as a guest. The message is also one that we can all relate to. I mean, who the fuck wants war?

Holding Poison:

Dave opts to use reverb for his vocals over choppy riffs and rhythms. It is not a great song on the record, but that’s purely academic when you consider even the shit ones on their strong albums are probably much better than what some of the other artists/bands churn out for most of their records.

Chasing Birds:

This is likely to be the second single and will probably fare better than “Shame Shame” because it is, in effect, the second instalment of their classic and my favourite song, “Everlong”. 

Love Dies Young:

The final song off the album, which so far is unbelievably short. All the songs have yet to be near the five-minute mark, which is the norm nowadays for tracks. The record clocked in at just over 36 minutes, a relatively short listen. Also, there are only nine tracks, which is unusual, especially for the Foos. Now, this track might be a typical FF track. Still, I could hear a bassline inspired by New Order or Peter Hook and the Light. It also reminded me of their acoustic ballad that builds into their usual rock style, “One of These Days”, so if you do feel underwhelmed by the shortness and tempo of the tracks, you can be won over at the end of the album, just as you were at the offset. If you buy the deluxe edition of the record, there is a listening party complete with commentary from the band after each track. Usually, this type of thing is saved for DVDs, but you have to admit, it is quite an interesting approach from the Foo Foos.

Song recommendations: “Love Dies Young”, “Making a Fire”, “Cloudspotter”

7/10

Week 4: You Me at Six- SUCKAPUNCH

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Wow, it has been 14 years since the debut album and seven records later, You Me at Six are very experimental on their albums. 

“SUCKAPUNCH” is no exception, although you can still hear a familiarity with the band’s wall of sound. The record contains personal fables and their desire to keep pushing the boundaries. Leading vocalist Josh Franceschi said they must push the boundaries to let the industry know they are still around. Indeed, the current shitstorm going on in the world inspired them to push those boundaries and do whatever they wanted sonically while bringing new ideas across various genres they have flirted with in the past and other experimental sounds they were venturing into on this.

Look at “Beautiful Way”; it is more Drum n Bass than the genre they are pigeonholed in. Then “SUCKAPUNCH” is what you would hear a disc jockey mixing in the nightclubs, with its roots firmly in Techno. The smatterings of Dubstep on the album make some tracks ideal for playing in clubs and raves when that day comes again. Of course, the band does return to their generic sound on tracks like “Kill the Mood”.

However, at the halfway point, the track “Glasgow” brings a brief lull on the uplifting and energetic album. “Adrenaline” soon sees an end to the break. “What It’s Like” takes you back to the familiarity of their sound and harks back to the days of “Lived a Lie”. 

The band has played it pretty safe even though it is obvious they have experimented (Maybe that’s why I found it all too familiar? Because they never stop being experimental.). Their guitarist, Max Heyler, said they have grown up with their music, which I concur with, but I need to find out where the sound has changed. I can still tell that I was listening to a You Me at Six album, but I found the club music element very welcoming. The majority still has some form of familiarity in it. However, I did draw parallels with them and their fellow English counterparts Hadouken when I heard the Dubstep tracks. Some might disagree with me calling it a “Safe” record, but they haven’t done anything I am surprised about. If they venture into country or classical, then I will be.

Song recommendations: “Beautiful Way”, “SUCKAPUNCH”, “What It’s Like”

7/10

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 50: Yungblud- Weird!

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I never knew who he was until he started to date Anaïs Gallagher (I’m not sure if that has ended now.), and I saw what looked like a stereotypical post-2010 white rapper. So, naturally, I stayed clear of his music because I think those rappers are fucking dire when you consider what they were like pre-2010. Upon doing my research, I discovered that he first caught people’s eye with his 2018 mixtape “21st Century Liability”, followed by “the Underrated Youth EP” the following year. His appearance is a prime example of never judging a book by its cover because his songs are rock, pop-punk, emotional rock, and punk. I was shocked that the young lad from Doncaster who refuses to take Ritalin to temper his ADHD was indeed inspired by that type of music. During these mixtapes, he attacked out-of-touch parents with today’s youth, and he represents the voice of the youth movement.

Yes, Yungblud may be bold, confident, and arrogant, but the Dominic Harrison side shows up now and again. That side is empathetic towards the LGBTQ+ community, sexual violence victims, and gun crime prevention. Don’t forget that he was also involved in the protests by the Black Lives Matter movement, even going out of his way to fly over to America to demonstrate alongside them. All this when you consider at that time of the year, this side of the pond was on a severe lockdown with only essential businesses open.

Aside from all that, this is the debut effort called “Weird!”. It departs from the mixtapes as he goes more mainstream with the sound. Think of Green Day, 5 Seconds of Summer, Thirty Seconds from Mars, A Day to Remember, and Paramore, and you’re on the right track. 

“Superdeadfriends” is inspired by the Beastie Boys, and the title track sounds like the Cure did it, albeit not lyrically. Yungblud flip-flops from his alter-ego to his genuine self, where he talks about his issues with self-esteem.

This is quite evident at the midway point of the record, where he struggles to talk about being secure in love because of the arguments he has witnessed his parents have and his inability to share himself with others because he finds it extremely difficult to open up and ergo, give his relationships a chance. Unfortunately for Yungblud, his ability to touch on these subjects is being used by other artists elsewhere more creatively despite the audience he has captured. Even though I may have been surprised by the music that he was into, my concentration did fade in and out throughout.

Song recommendations: “Teresa”, “Weird!”, “Superdeadfriends”

6/10

Week 47: AC/DC- PWR UP

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It’s quite funny, really, when you consider that Kylie Minogue was number one last week, and this week is the turn of some more of Australia’s finest musicians. These are the best bands and musicians out of Australia, and it’s none other than AC/DC. Yes, there may be English and Scots among the band, but they were founded in Australia (A friend of mine lives not far from one of the former member’s burial place in Perth.) Who isn’t a fan of AC/DC? I might have discovered them after the infamous shirt worn by Butt-Head. Still, after my curiosity, I found I enjoyed listening to their…let’s use Cricket terminology for this (As it’s one of the huge sports in Australia) all-out attack sound, like a Baggy green slogging away out in the middle at every possible ball and sending it either to the boundary for four or striking it into orbit for a maximum. This is the band’s 17th studio album and sees the return of leading vocalist Brian Johnson since his hearing operation and replacing the current touring vocalist, Axl Rose (Yes, that one. Mind you, he was on good behaviour in AC/DC. Probably because Angus Young promised he would kick his fucking head in if he pissed about by turning up late onstage et cetera.) Brian looked like he wasn’t going to return after the news that his hearing was so bad that if he carried on performing, he would go entirely deaf. However, he says his hearing is better than ever and announced his return earlier in the year. 

Here is my track-by-track review:

Realize:

From the off, the album has that typical AC/DC attitude to tee the listener up for what they are to expect for the entire listen.

Rejection:

This could be the second single off the record with its catchy guitar riff, and I can certainly see this being included in the setlist when the band can take it out onto the road. It is a tour-ready anthem and one that will get the crowd singing their hearts out.

Shot in the Dark:

The band released this as the leading single, and you can tell why when hearing it. It fits perfectly into that AC/DC wall of sound.

Through the Mists of Time:

Yes, it may be more relaxed initially, but it progressively builds. From a steady rhythm, it grows into the usual rock melody they adopt, complete with a chorus that gets into your head.

Kick You When You’re Down:

Hmmm…this track surprised me with its roots in blues. It’s not a usual AC/DC track (Unless I’m missing something?) with its signature blues riffs that will have the listener moving their head rhythmically. Will it be used on tour? Probably. Even though it is blues, the song is quite uplifting, and it appears, just by listening, that the band had a lot of fun recording the song.

Witch’s Spell:

AC/DC at their best with Brian’s powerful vocals and Angus’s signature guitar riffs. Not to mention the strong rhythm section to back them up and give them that all-round sound.

Demon Fire:

It is a very energetic track with Brian showcasing his vocal talent by going into the lower range, experimenting with different tones, Angus backing him up with a blues riff, and once again the rhythm section adding the panache.

Wild Reputation:

Again, this track doesn’t start as an AC/DC one but does gradually. Initially, it is very soft, with the rhythm more relaxed to match Brian’s vocals. I don’t know if the band recorded this as they reached the end of the session, but it is more mellow than the album. Respite for the listener, perhaps?

No Man’s Land:

Intriguing. In quick succession, the record’s tempo is mellower and very much inspired by country music. It could make it onto a country compilation in years to come.

System Down:

Ah, they have found their muse again and gone full-on rock with this traditional AC/DC track with Brian’s howling vocals and Angus going schizophrenic on the guitar with his riffs and solos. Not to mention the catchy chorus. There’s nothing to say about the rhythm section I haven’t already said so far because everyone knows what makes an AC/DC song.

Money Shot:

A stunning bit of play by Angus on the axe is the highlight of this track and the whole album. This is Angus Young showing his wizardry on the guitar. For the most part, the song is ready, but Angus lights the fuse when he does the solo.

Code Red:

It is a superb way to close the record, and for that reason alone, it will be included as a set closer as they disappear off-stage before returning for the encore. Upbeat and hopeful.

Song recommendations: “Realize”, “Money Shot”, “System Down”.

9/10

Week 44: Bruce Springsteen- Letter to You

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I just had to do a track-by-track review for the Boss:

One Minute You’re Here:

This is just Bruce being alone in a bubble with his soul (This is what I call playing an acoustic guitar in a room all by yourself.) in a reflective mood with the lyrics remembering his friends lost over the years—aptly named.

Letter to You:

The album gets going with this track, and the E Street Band are once again proving that they still have the juice on this intimate and fragile ballad with Bruce, where he talks about what he always was and will remain to be.

Burnin Train:

In a nutshell. Fire.

Janey Needs a Shooter:

You’ll never guess who is on this track. But it does make sense, considering it is his first profession over being an actor. It is Steve van Zandt who played Silvio in the Sopranos. He provides backing vocals during the chorus. I don’t know if he is a new member of the E Street Band, but there are plenty among the original members. It works, though, and both stand out at each point of the song.

Last Man Standing:

Rumour has it, the Boss uses his usual three chords, but this one is leaning towards melancholy as he remembers his former Castilles bandmate George Theiss, and the title reflects that.

Power of Prayer:

A typical E Street Band accompaniment with its trademark saxophone solo. It’s a song ready for when Bruce can finally take this album on the road and have the crowd join in on a hot summer evening as the sun sets.

House of a Thousand Guitars:

I am seeing reviews of this track as the worst on the album when I found it the best on the record. I also found it ironic that the piano featured heavily, and the guitar, the weapon of choice for the Boss, is seldom used.

Rainmaker:

Ah, this is Bruce attacking the American government. It was written during George Bush Jr’s time in charge but has remained relevant to the current presidency of Donald Trump. So far, there have been no political songs on the record that go after the government. It’s good to see that Bruce has still kept his values.

If I Was the Priest:

It’s not one of his best songs, and the rhyming is very basic for someone of Bruce’s ability at songwriting.

Ghosts:

Again, this is another track ready for the road, with the E Street Band putting all their energy into it.

Song for Orphans:

It transpires that this is part of a trilogy that includes “Janey Needs a Shooter” and “If I Was the Priest” and were written when the great Bob Dylan highly inspired Bruce, so these songs were quite obviously written back in the 20th century, rather than just purely new songs for this album. It contains a plethora of words, which is a very Dylan trait.

I’ll See You in My Dreams:

The album doesn’t end on a high note. It is similar to how the album began. Hopefully, this isn’t the last record released by the boss, or this is not a good way for him to sign off. I can’t imagine Bruce timidly ending his studio career.

Song recommendations: “House of a Thousand Guitars”, “Last Man Standing”, “Ghosts”

7/10 

Week 41: Queen + Adam Lambert- Live Around the World

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Who isn’t a fan or was a fan of Queen? I have been listening to this band for as long as I can remember. I am glad they decided to continue even without their great frontman, the late Freddie Mercury, who essentially made the band the success they still have. Adam Lambert isn’t a bad replacement, but MIKA was the ideal replacement for Freddie because he seems like a modern-day Freddie with his onstage persona and vocals. 

This live album features songs performed over the last six years from the tour, with Adam adding his unique persona and showmanship. The “American Idol” (I forget which year.) runner-up doesn’t pretend to emulate Freddie, nor should he. It is about being unique and bringing something new to the band while still being capable of delivering the vocals well, if not better than your predecessor, which Adam does.

Let’s look at how he does that in “Don’t Stop Me Now”. Since his inception, Adam has given this track new life in the live capacity. He teases the crowd by stretching out notes when the crowd is ready to jump up and down and go nuts. Thus, by doing that, they have to wait for the note to reach the summit. After this happens, Adam gives a cheeky wink and a nod to the crowd. I am not a fan of the next track, which I must confess I first heard being performed by Father Noel Furlong (Played by Graham Norton.) while he was under a pile of rocks in “the Tentacles of Doom” Father Ted episode. The track in question is “Fat Bottomed Girls”. There’s another reason why I am highlighting this track: it was performed at the AT&T Stadium, which is the home of my beloved National Football League franchise, Dallas Cowboys. Queen performed at this particular gig in Arlington, Texas, with the Dallas Cowboys cheerleaders dancing onstage. Adam cheekily threw in “Not true” after the line “Ain’t no beauty queens in this locality”. Now, he said it about himself rather than the Cowgirls, which makes this ad-libbing somewhat comedic.

Adam could be considered one of the best vocalists around at the moment (In rock, anyway.), and sometimes, he even surpasses Freddie by taking risks to reach higher notes, which makes drummer Roger Taylor redundant in the vocal aspect. Whereas Freddie often relied on him for backing vocals to look after his vocals, Adam would instead go it alone and take the risk of being vocal-weary over a long and arduous tour. So, Freddie would want to take care of his vocals and pace himself, whereas Adam would give it his all every show regardless of the health of his vocals. It’s not a destructive mindset for Adam, but as the years pass on the tour, some in the crowd might feel short-changed by hearing tired vocals.

“Who Wants to Live Forever” is another standout on the record. Adam dedicates it to those unfortunately caught up in the Orlando shooting earlier in the year, and this live performance is taken from the night before the concert. You can hear the emotion in his vocals, especially as he reaches the chorus.

As well as a plethora of the band’s hits, they found room for two solo tracks by their beloved late frontman in the shape of “Love Kills” and “I Was Born to Love You”. Just to let the crowd and Freddie know that he is remembered and his legacy lives on even though he is no longer on stage.

There are bad points to the record, and I was highly disappointed that two of their most iconic tracks were shortened to just over two minutes. I mean, how on earth can “Bohemian Rhapsody” (Voted the best song of all time.) and “We Are the Champions” be given such short shrift and disservice? I find this insulting. I looked forward to hearing them the most and was left cold by the time they were performed.

Song recommendations: “Bohemian Rhapsody”, “We are the Champions”, “Don’t Stop Me Now”.

7/10

Week Twenty-Eight: Paul Weller- On Sunset

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It is absolutely amazing that the older the Modfather gets, the better his music gets. Before 2005, he had a mini-slump as we entered the 21st century, but not as bad as being almost the forgotten man for a bit in the 1990s. He did jack it all in after 1989 when going through turbulent times since the Style Council split. In 1991, he went back out on the road playing small venues, to begin with, as a solo artist, but it sounded more like a band called the Paul Weller Movement. He then released his self-titled debut album in 1992 and once again was being talked about for the great songwriter that he is. Still, it was his second album “Wild Wood” that really got him back in the limelight, not to mention the praises of a young, fresh-faced songwriter called Noel Gallagher (Who is still his neighbour at present in Little Venice despite Noel trying to sell his London home.) who happened to be in a band called Oasis who were leading the movement back in 1994, which got Paul new fans and at present, the momentum from that year is still carrying Weller through. Yes, he had three disappointing albums to begin the 21st century by his standards, but since “As is Now”, Paul has had the fire in his belly to prove he’s still one of the greatest songwriters in the world.

He has also had a philosophy of not looking back since 2005 and has dared to experiment on every album thereafter. “On Sunset” is no exception. Instead of sticking to the sound he once mastered, he has added vim and zest with his experimental endeavours. They usually say, “If ain’t broke, don’t fix it.” However, in music, you need to change with the times and push yourself to try new ideas rather than stagnate. This is why most songwriters disappear from the radar because they are too comfortable. Weller is willing to try new and exciting things to let everyone know he is still working and stamp his authority all over the industry.

Weller has changed up the tempo for this record; as we all remember, “True Meanings,” his last album from two years ago, was very reflective and simplistic. However, “On Sunset” is a departure from its predecessor and challenged him, but from what I heard, it’ll bear fruit for the Modfather in the long run.

The record begins with “Mirror Ball”, which I would describe as a three-in-one track because of the number of genres included. It goes from psychedelic, experimental, sub-bass and then, as the seven minutes approach, back to how it began. I could see the likes of the Chemical Brothers, Toydrum or Amorphous Androgynous remixing this, but Weller is more than confident of having a go himself as he gets bolder these days.

Most of the album, which was recorded at Black Barn Studios in Surrey, has a very summer feel to it when it was probably recorded during the cold winter of this year and last year. The whole element of funk and bass adds to that summer effect. However, towards the end of the record, we have tracks like “Equanimity” that sound more like he did back in 2000 compared to what he has been doing for the last fifteen years of being very experimental in the studio.

The title track is sound, but I don’t know if the final mix was supposed to have the effect of the Modfather’s vocals being overpowered by the strings to accompany them. It seems odd that Weller’s vocals are very feint.”Bapiste” reminds me of his track “Wild Wood” from the early 1990s when he dared to go solo, and it feels like a song dedicated to his passion.

The production is a bit much, but the lyrical content more than makes up for it. I’ve heard some bullshit in recent years that the Modfather is no longer a force with his songwriting, but after nearly 50 years in the industry, I disagree. He has always retained his ability to write songs; even those first three albums of the 21st century still had gems on them, although fewer. I loved “Rockets” as Weller once again gets political and takes a swipe at the sorry state of current affairs. He was also clearly inspired by the late David Bowie, as it sounded a bit like Bowie’s Ziggy Stardust era.

“More” indicates what Weller plans to do from here on in. “There’s always something else in store, keeps me running down that road.” if that isn’t a clear indication, then I don’t know what is. Weller is not planning to retire any time soon and is still hungry for more accolades among the many others he has received over the decades. 

Once again, the Modfather has stamped his authority all over the industry and is not paying attention to those who think he should be in the garden of his Little Venice mansion, having a cigarette with a pint and reflecting on all the milestones he has reached. I look forward to another experimental album to follow this.

9/10

Song recommendations: “Rockets”, “Mirror Ball”, “More”

Week Eleven: Paul Heaton & Jacqui Abbott- Manchester Calling

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PH-JA_MC_4000x4000

Although their band, the Beautiful South, broke up in 2007 and they got together as a duo in 2014, there are still signs that they have kept alive the spirit of the band, and that is very evident in this latest record. You have those typical Beautiful South-sounding songs. Although you may be familiar with the wall of sound in this fourth album, it is also their most original record.

Paul Heaton, as we know, is very set in his ways and doesn’t care for adapting his style for the modern world, but on this album, he gave most of the control to Johnny Lexus and his musicians to give the record a more modern feel blended with Paul’s timelessness.

From the opening bell, you are greeted with the in-your-face rock n roll track “the Only Exercise I Get is You”. Now, after just the first track, I am already paying full attention as an album that usually starts with a bang suggests it will keep improving. Then you have tracks like “All of My Friends” and “Big News in a Little World”, which follow in the same vein, but Johnny has added sprinkles of modern computerised technology in there with loops, electronic strings and samples over this 16-track record. It also works whether he has used ProTools, Cubase or Logic. Fair play to Paul for letting go and putting faith in his regular collaborator, Johnny, to give this album a different feel.

“MCR Calling”, however, is a darker sound, which fits in with the lyrics. Paul and Jacqui lament how the city has changed recently, has lost its originality, and is falling victim to the falseness we see infecting almost every city. I wonder if Gary Neville will enjoy the song’s last verse, which mentions his head being on a spike.

Regardless of the originality of this record, it is still quintessentially Paul Heaton with its timeless lyrics and catchy songs. There’s nothing artificial about it, and it focuses on Paul’s knowledge of life lessons, stories of real issues across the spectrum, embracing the losers and littered with comedy. A prime example would be “Somebody’s Superhero” and “If You Could See Your Faults”.

I love his wordplay and poetry on this album, and it is very much what Paul is known for. Although there have been severe and very personal issues on his tracks with the Beautiful South, as a solo artist or with Jacqui Abbott, it still has a very comedic feel despite the nature. For example, in “So in Love”, there is a verse that says “promise of wedlock” followed by “trapped in a permanent headlock”. That’s the kind of point I am trying to convey when I mentioned his songs laced with comedy, yet aggressive, too. This is a bit like the message conveyed in the Beautiful South song “Don’t Marry Her”, sung beautifully by Jacqui Abbott. It is hilarious, yet serious simultaneously with lines like “She’ll grab your sweaty bollocks, then slowly raise her knee, don’t marry her, fuck me”. Do you see? Funny and fucking violent.

On my coda (Most use the typical cliche of the final note.), it doesn’t matter what genre Paul might write for; he will always use his trademark lyrics and get the producer to get the music to compliment them. Although the Beautiful South have been disbanded for over thirteen years, they are kept alive in Paul’s music. When he and Jacqui get together, you feel like the band never went away. I have yet to say much about Jacqui in this review, which is not discrediting her contribution to the record, but Paul is the songwriter. I would be lying if I didn’t say Jacqui was as brilliant as she always is because she was. Her vocals still sound as fresh as when she took over from Briana Corrigan in 1994. The album hit a lull for me after the first four tracks but picked up after the halfway point, so all-in-all, it’s an outstanding, funny and sobering record. 8/10

Week Forty-Two: P!nk- Beautiful Trauma

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PINK_-_Beautiful_Trauma_(Official_Album_Cover)

By looking at the record name, you can tell that this will be a very emotional album and could well be autobiographical (It is). It talks about everything from her childhood, marriage, becoming a parent and the trials and tribulations we all face during adulthood.

P!nk said of the record that, even though life is laced with bad moments that can be very traumatic for us, the good far outweighs the bad, and she wanted to convey that message in this record.

She’s right, as the album features 13 tracks with beauty and trauma entwined and how they play out side by side in our lives.

Let’s start with the very emotional “Whatever You Want”, where she talks about hanging onto a fractured relationship by any means necessary. She talks about it being doomed but feels there is light at the end of the tunnel and how it makes her box on and tries to give whoever the man is on this track whatever he wants or needs to make the relationship return to how it began.

“What About us” talks about those used in relationships and how their feelings have been dismissed. “Barbies” talks about how life was so much sweeter, carefree and elementary when she was just in her room playing with her Barbie dolls. However, there’s also a contradiction within this track where she states that she can’t remember how life was more straightforward as a child. Finally, she questions the future and where we all go after all is said and done.

“For Now” is a yearning for a Utopian relationship (I think, that’s the terminology, I’m looking for?) and how to recover how we used to feel towards each other and just press the pause button to remain in that moment always. She also confesses that she is far from perfect, and what she says can cause her to destroy what she has with someone or cut them very profoundly.

We then have the epiphany moment, where P!nk realises that despite all her flaws, she has nothing to fear and can keep going straight down the road rather than looking for other directions on the song, “I am Here”. She might still be scared of her journey, but she’s willing not to stray and battle any storm that might come her way.

You can hear the same sentiment as those above in “Wild Hearts Can’t be Broken”. However, in “Secrets”, P!nk talks about moments in her life she is not particularly proud of regarding relationships with the opposite sex. She is confessing to moments when she has lied and hidden secrets. Indeed, she reveals that the truth is written all over her face, and now, she’s ready to uncover things that you will find extremely hard to take.

With “You Get My Love”, she is talking to her current husband, Carey Hart, and even though she is still not entirely used to the idea of being ready for her marriage, she adores him no matter what and will stand by him through thick and thin to make the marriage last for eternity.

Now, let’s look at one of the best tracks on the record, the title track, which is so aptly named for her seventh studio album. What I found very interesting and poetically tragic is that this song is compared to how you feel when your life becomes consumed by drugs, even though it is clearly about a very toxic relationship. You fall victim to it and become an addict. I find that beautiful yet tragic, but she is certainly onto something when she compares them. Being in a toxic relationship is like becoming a drug addict because even though, you want out, you get sucked back in again and can’t seem to resist another hit even though you know deep down that, you need to get out.

Eminem features in the very volatile “Revenge”. Do you need an explanation of the meaning of the song? The title explains itself, plus you have Eminem on it. What more do you need to know? Eminem is known for very passionate vocals and hard-hitting lyrics. Straightaway, you already know that this song isn’t laced with romance. He talks about how he will avenge his lover after she has cheated on him while using extremely derogatory terms directed at her throughout. I love Eminem, so as you can imagine, I liked this song and the truth about how someone feels when they are wronged in the most heinous way in a relationship.

The next song I will look at is “Where We Go”, where P!nk tells a fable wrapped in hopelessness where a relationship has no chance of surviving what it has already gone through. Not even a divine intervention will perform a miracle. “Better Life” is somewhat pessimistic, and instead of P!nk being in such a loving relationship at present, she feels very insecure and feels that her lover can do better with his life and have a better wife. The fear of this grips her so much

she is tempted to begin drinking and smoking again to an unhealthy level.

Overall review:

What an amazing record. I love the fact that P!nk has told her story through the means of her art and revealed to the listener all about her life up to the present day, which is very rare in a society where so many people in her profession like to put on this mask that all is rosy in their life, not necessarily through their music but how they are portrayed in the public eye. With “Beautiful Trauma”, you get everything from her happiness, confessions, honesty, bitterness, and explosive rage, as demonstrated in “Revenge” featuring Eminem. Some have said they are uncomfortable by her dark side, but to me, it makes her even more genuine as an artist and person. The album is aptly named. 9/10