Soul

Week 15: RAYE- This Music May Contain Hope.

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I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

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 33: Hozier- Unreal Unearth

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Who could forget 2015 when Hozier went toe-to-toe with James Bay for the anthem of the year? I am trying to remember who won precisely, but both anthems are now somewhat iconic. That was the beginning of Hozier’s already lengthy career. We might not have heard of him until then, but he was in a band before and did several live performances as a backing vocalist, et cetera. His anthem, ‘Take Me to Church’, finally got him noticed. The whole album was good, and the songs performed live were quite celestial. According to an interview with Jools Holland, “Unreal Unearth”, his third studio album, is inspired by literature, such as Danté.

What I found somewhat surprising is Hozier has written only two songs on the record, and the rest are co-written. You would think Hozier wouldn’t find this necessary, as he has shown he is a great songwriter on many occasions. As you can imagine, the two he wrote are by far the best work on the album. One of them would be seen as controversial over here as it details how the Irish citizens suffered at the hands of Britain during the invasion. Particularly the holocaust, which is dressed as the “famine”. The track in question is called ‘Butchered Tongue’, and over this plucked acoustic tune, Hozier gives a fiery vocal delivery about the injustices. If you can’t handle sheer honesty in the song, then don’t listen. He doesn’t hold back. It was also refreshing to hear a Gaelige song that introduces the album—further stamping his Irish identity. The second, written by him, is towards the end of the album ‘Unknown/Nth’, an ethereal track riddled with metaphors.

Another of my standouts are songs I had earlier in the year when he performed on Later…with Jools Holland. ‘Eat Your Young’ is quite a disturbing track. Still, it has some fantastic guitar work by Hozier and then ‘Francesa’, a highly emotional track about someone dying of an incurable disease. The vocal delivery on both are raw and sung with absolute conviction. Hozier’s lyrics go from biblical references, to the outlandish naming of car parts. It is beyond insane as the record progresses. The biblical references kind of blend in with the whole Danté-inspired premise. 

In the Spring edition of Later…with Jools Holland this year, Jools felt the album was eclectic, and Hozier agreed. Indeed, this record has funk, soul, Celtic, and rock, to name a few. As well as having co-writers, Hozier also did an indie-inspired track called ‘Damage Gets Done’ with Brandi Carlile. Then there is a jazz track, ‘All Things End’. You would be forgiven for detecting a metronome, but it is surprisingly finger clicks, complete with a gospel choir in the chorus. 

It was disappointing to find Hozier acquired co-writers for this album, and you feel cheated knowing he did. Yes, co-writers can write, but they need help understanding the meaning of your songs. As mentioned earlier, Hozier, in his own right, is a great songwriter, so this decision seems odd. Hozier is known for writing passionately about things he is interested in or his life. I can only think the record label browbeat him into using co-writers because they would be able to stem his creativity on what can be controversial opinions. The real test is how they hold up live. Although the album might be slightly manic with the genre-hopping, I still find it quite a good listen.

Song recommendations: ‘Francesca’, ‘Butchered Tongue’. ‘De Selby Part 1’

8/10

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 13: Michael Bublé- Higher

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It’s great when I don’t have to do a little introduction of an artist/band. However, I was astonished that this is his 11th album, four years since he released “Love”. Unfortunately for Michael, he has been pigeonholed into Christmas. In September, which is the official build-up, Michael appears. My first review of one of his albums was last year’s first number-one. However, Michael has done virtually a covers record this time with two new ones thrown in.

I was wrong. It is four new ones that complete the 13-track album. Indeed, the lead single is an original titled ‘I’ll Never Not Love You’, an optimistic song about love surrounded by big band and swing that wouldn’t look out of place being performed by the Rat Pack. As usual, Michael has hit his audience. That’s what you associate with him with his silky and bombastic vocals. ‘Baby I’ll Wait’, written with John Mayer, sees soul and rock collide. Michael can blend his songs with the classics he puts on albums and effortlessly sings during live performances.

So far, I am talking about the original songs Michael wrote. I am not sure they were meant to be on “Higher” because the other nine tracks are covers. Let’s look at the title track. It has a Latino feel to it, wrapped around upbeat instrumentation. Then, the final original title is ‘Mother’. Funnily enough, it is Mother’s Day weekend, and how apt that there is a track by that title on this newly-crowned number 1 record. Of course, as you can tell by the title, Michael is paying homage to his mum, and the method used is a ballad. It is also refreshing to see that Michael is more than just a tremendous cover version singer. His work shows how talented he is.

I just remembered about another original: the second track, ‘My Valentine, ‘ done with the Beatles legend Paul McCartney. 

Yes, it is a song about love, and if I remember rightly, he brings up Valentine’s Day, too. This track starts quietly before bursting into a big band and will be one to watch on the forthcoming tour. What surprises you most about Michael is his ability to record covers still and add originality to them. He has done countless covers, and you would have thought by now that he would be in a cul-de-sac, but no. He still has the knack.

Leading off from the covers section in the previous paragraph, He does a tremendous and jazz-inspired cover of Bob Dylan’s’Make You Feel My Love’. Meanwhile, Adele and Bryan Ferry kept it more in line with the original, which was melancholic. It is the best cover of the song I have heard and is my favourite. Michael has fun with it. 

You can hear the smile through his uptempo vocals; as I mentioned, the jazz element leaves you feeling fuzzy. He also covers the late Patsy Cline’s ‘Crazy’ with Country legend Willie Nelson on guitar. I am sure they exchange verses, too, and Willie provides backing vocals. 

The final cover I liked on the record featured in the latter half is of the late Barry White’s ‘You’re My First, My Last, My Everything’. You’d think this would be more soul, but Michael again has fun. This time, he puts a disco spin on it—an astounding change-up of sound on the album. Michael sticks to what he knows best for most of the record: big band and swing. However, he ventures into soul, a bit of country, jazz, and, more surprisingly, disco. There is no doubting his vocals, though. It wouldn’t matter if this album were panned because he has the vocals to nail any live performance. He missed a trick not releasing this in the autumn/winter because the tracks’ production and uplifting nature leave you feeling warm and fuzzy. I felt like I should have been sitting next to a log fire with my feet on a stool with a hot drink. I know it’s only March, but we are heading into Spring, and despite the rain outside, it feels warm. Michael missed a trick here on what is a splendid record.

Song recommendations: ‘Make You Feel My Love’, ‘You’re My First, My Last, My Everything’, ‘Crazy’

8/10














Week 32: Billie Eilish- Happier than Ever

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This has been the female vocalist of the moment since 2017 (I think), and she has a cracking middle name with Pirate (I am not even joking! Look it up!). I first heard of Billie through Twitter but gave her a listen after some festival I happened to be watching. Two years later, she released her debut, “When We All Fall Asleep, Where Do We Go?”. Of course, a lot has happened since then. Billie is almost 20, and she is coming to terms with people body-shaming her, being chatted up by musicians old enough to be her father, and coming to terms with her public status. It is evident in her sophomore album. Whereas her debut had more rebellion, “Happier than Ever” is reflective and downtempo. 

Now, I am going to be honest with you. Her brother Finneas is more talented and has written some great songs with his sister and as a solo artist. He is also a multi-instrumentalist, which always scores high with me regarding talent and songwriting. I spent most of my time zoning out when listening to this (I don’t fucking care if her pathetic little army comes after me for this. Fuck you, you little fucking idiots.), and her vocals aren’t that unique. She is a cross between Lorde and Lana Del Rey. When I first heard her after all the hyperbole, I thought, “Where have I heard that voice before?”. Granted, her genre choices differ from the other two, but you can hear them coming through. Every song fell into the next one, and I don’t mean regarding a theme. They all sounded the same. I didn’t hear much diversity in the delivery. Even on the rockier song (I think it was ‘Male Fantasy’? I can’t recall. I listened to the record two weeks ago and tried to figure out how to describe what I heard.). Do I have any song recommendations? Surprisingly, yes, but my God…the album just underwhelmed me. It only got to the top spot because of who she is. Here’s hoping her third record will be an improvement.

4/10

Song recommendations: ‘Male Fantasy’, ‘I Didn’t Change My Number’, ‘Therefore I am.’

Week 12: Tom Grennan- Evering Road

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What a turnaround in fortunes for Tom. Once, he had a budding football career that caught the attention of his local club, Luton Town, but he was let go at a young age. He then embarked on his next passion, singing, and his debut album, “Lighting Matches”, was very successful. Indeed, Tom’s song “Found What I’ve Been Looking For” became the official anthem for Sky Sports Super Sunday coverage and was featured on the FIFA 18 soundtrack. However, he had another final chance at football when Luton Town’s former manager Graeme Jones offered him a trial in August 2019, just as Luton Town was starting the campaign in the SkyBet Championship since 2008. He is still singing and has released his second tells me that it wasn’t a fruitful trial at the Brache training ground.

The second album is called “Evering Road”, named after a street in Newham, East London. It is also where Tom lived with an ex-girlfriend. Was that before he got fame or after? However, he grew up in London as well as Bedford. As Tom hit his mid-twenties, he changed it up with “Evering Road” and made this record about his break-up with his ex-girlfriend from Newham, with whom he spent three years. He candidly discusses his toxic behaviour and thanks her for helping him learn the errors of his ways in this audio letter of apology that spans over 14 tracks. The record reflects the volatile relationship rather than Tom passing blame or asking for sympathy for his diabolical attitude. Tom has laid this record out to perfection; it is laid out in the order a story of the events that took place would have happened. 

So, not only is this album an audio letter of apology, but it is also an autobiography. In other words, it is more like reading a book on this period of his life and, therefore, flows. Imagine when the live music world opens up again and hearing Tom perform these songs at Capital Radio Summerball 2022 at EE Stadium. Songs like “Little Bit of Love” are one of his singles, and they are very punchy pop that’ll get the crowd singing along. Then, you have “Something Better”, with its jumpy piano and soulful backing vocals, with the latter adding layers to the track, making it sound fuller.

In “Amen”, Tom has an almost gospel-like texture when discussing never going to church. Still, the Hozier-esque track is more about his struggles to make decisions that his heart is in rather than just making them without consideration. The song starts to lose its power towards the end, but then Tom turns it back on with his vocals and a message that’ll be open to interpretation by the listeners. When the tracks seem waning, Tom plays to his strengths to keep the listeners engrossed. “Oh Please” has a funk vibe, but the lyrics make the track stand out because Tom’s attitude has changed for the better. Rather than being angry and having a chip on his shoulder, he becomes more mature and shows humility.

Of course, you have an album that sounds familiar to the debut; Tom has drawn on many artists who inspired him this time, on many genres and producers. As we have discovered, “Evering Road” is an audio letter of apology, and that comes across with pinpoint accuracy on “Sweeter Then”, which is a reflection on the many beautiful summer days he spent with her, and “Make up My Mind”, which is about confessing that he didn’t know what he wanted from the relationship. Instead of being honest, he tried to fight on without knowing how he felt. However, my favourite might be somewhat of a cliché is “Let’s Go Home Together”, featuring Ella Henderson.

This song was co-written by Ella with James Arthur and performed live with the two writers in question, but for some reason (Let’s face it, it isn’t a bad choice.)Ella elected to do it in the studio and on Tom’s album. You can hear an acoustic guitar playing while Ella exchanges verses with Tom and then sings the chorus in unison while playing a gentle piano ballad. As much as the track is romantic, it is laced with cheeky lyrics and innuendos. What is odd about the song is that it is about a couple who have met in a bar/pub/nightclub and, upon exchanging a few words, find that they haven’t much in common, but once they are tipsy, they find each other quite attractive. Maybe this is how Tom felt about his ex, or he has discovered a new love interest in this manner.

Nevertheless, I enjoyed this track, and the cheekiness of it all was a lovely refrain from the usual heavy subject. It’ll be interesting to see where Tom goes from here because this is night and day compared to “Lighting Matches”. A more mature approach shows another side of him and for the better. He has addressed the issue and is learning what it is like to be an adult.

Song recommendations: “Let’s Go Home Together”, “Sweeter Then”, “Amen”

8/10

Week 3: Barry Gibb- Greenfields: the Gibb Brothers’ Songbook Volume 1

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I have never been a fan of the Bee Gees, and I didn’t care much about their soundtrack for the 70’s film Saturday Night Fever. However, I have always held Barry Gibb in high regard; he is a genuinely fantastic songwriter, even if the music may not be to everyone’s liking. Barry has always been a massive fan of country, and I am not in the least bit surprised he has written for such icons in that genre as Dolly Parton and the late Kenny Rogers. This album is for Barry and what he likes. It is predominantly country with some soul chucked in with various guests renowned in the music industry. 

Now, I know I said I don’t like the Bee Gees. Still, Barry, flanked by producer Dave Cobb, has given the back catalogue by the band that featured his late brothers a lease of new life with the songs reimagined. You might forget what the songs are like in their original guise because they are suited wholly to country. Barry returns to the music that inspired him when he lived in England and Australia, respectively. He has delved into country, bluegrass, blues, skiffle and added some soul tracks to the mix.

You have Brandi Carlile bringing a more aggressive approach to “Run to Me” (One of my standouts on the record.). Then Jason Isbell (Another artist and guitarist I highly respect along with his wife Amanda Shires.) brings an almost church-like presence to “Words of a Fool”, but Barry’s distinctive falsetto vocals still rise above all else on the album. Of course, you have Dolly Parton, Keith Urban, and other icons on the record, but another track that catches your ear is “How Can You Mend a Broken Heart” featuring Sheryl Crow (I can’t help but feel Al Green was overlooked for this. He has done a stunning rendition of the song.).

Yes, it is a Barry Gibb album with him having the majority of the spotlight; however, it isn’t always that way, and in some tracks, I have highlighted in the paragraph as mentioned above, Barry lets Brandi and Jason take over with their vocals on those individual tracks, and blends in like he was an instrument over Dave’s lavish production. Even after all these years of sharing vocals with his late brothers Robin and Maurice in the Bee Gees, Barry still is very democratic with vocal performances, even though this is his record.

Song recommendations: “Run to Me”, “Words of a Fool”, “How Can You Mend a Broken Heart”

8/10

Week Seven: Green Day- Father of All Motherfuckers

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Yes, I don’t care that I am using the full title, and if that offends you, I couldn’t care less. Get used to it. I am fed up with all the fucking bullshit in society that offends people. So, I have been a regular listener (I even watch their shows via YouTube or television. Haven’t been to see them yet.) since 1995. They came up in a conversation while I was in America, and I remember hearing them and feeling blown away by their energy. Later, I would discover bands like the Sex Pistols and draw on the two comparisons. Indeed, Green Day frontman Billie Joe Armstrong said they inspired the band. So, Green Day started as Sweet Children in 1987 when they all met at school. (I believe Bassist Mike Dirnt was living with Billie Joe’s family or vice versa. I recently saw a documentary on the band and forgot the order.) Why Sweet Children? Well, a band in the East Bay of California was already called Sweet Baby.

The band then changed their name to Green Day after their affection for cannabis. The band would start to gain traction after performing numerous gigs at the DIY 924 Gillman Street club, known as the Gillman. After being spotted by Larry Livermore of Lookout! Records, they would sign with the independent label until 1993. When they joined Reprise Records in 1994, they faced some backlash from the regulars at the Gillman for ‘selling out’, but “Dookie” would go on to be their major breakthrough after scoring number one in three countries. Even in America, it only just failed to reach the summit. The band would get even more popular from there with a slight dip in “Nimrod”.

In the early 2000s, they had to change direction, so they entered the political arena with catchy three-chord songs like “Basket Base”, “When I Come Around”, et cetera and their lyrics laced with sarcasm. Not literally, but their songs attacked the presidential reign of George Bush Jr and his government. Now, we were seeing Green Day going full-on Sex Pistols. Turning from just Punk musicians to activists and “American Idiot”, the album was very politically-charged. After Bush’s two terms had finished, the first black president Barack Obama was elected, and everyone felt hopeful about the future. Indeed even the band’s lyrics and songs were more about hope and losing anger. Was it because the band members were getting towards middle age? Who knows. After Obama served his two terms, Green Day was not happy about the appointment of Entrepreneur Donald Trump, and many fans expected an album more prominent than all had gone before after 2016. Still, despite their opposition to the current president, it didn’t come.

Unfortunately, the title suggests that this is the moment that this is the record that does it. On the contrary, I didn’t notice much politics in this at all. I found it more upbeat, Kind of like “Who Built the Moon?” by Noel Gallagher’s High Flying Birds. It’s nothing like it sonically, but the music is upbeat. I was expecting a political album from Green Day, but they may feel we need more uplifting things to listen to during the current climate. The biggest shock for me on their thirteenth studio record was the length of it. Even with the bonus track featured on the Japanese version, it barely touches thirty minutes. On the version everywhere else, it is only twenty-six minutes and sixteen seconds. Their shortest record since “39/Smooth”, their debut back in 1990. Billie Joe said during an interview that he didn’t feel creative enough when writing songs involving politics. Instead, we have more of a jam session album, and Billie Joe felt nostalgic by drawing inspiration from his record collection. It is an album that is more focused on instrumental than lyrical content.

More bad news for avid fans is that the band have got very experimental on these ten/eleven tracks. Of course, for someone like me who enjoys it when artists/bands dabble with different sounds and genres, this record is very intriguing, and I appreciate this concept adopted by the band. Indeed, Billie Joe has said this record is more Soul, Motown, Glam rock and traditional Pop punk. However, there is modern garage rock with tracks like “Meet Me on the Roof” and the Weezer-inspired “I Was a Teenage Teenager”. The delivery by Billie Joe is very different, too and goes in line with the record; instead of his usual aggressive vocals, he sings with a comedic falsetto.

Well, if you were expecting a record that attacks the current world leaders, this album is not it. I’m sure Green Day will no doubt release one sometime in the future, but for now, they have decided to go with something more uplifting and make you forget entirely about all the bullshit going on for half an hour at least. This record is more like one big party and reminds us all to have fun now and again. As I said, they have gone with Noel Gallagher’s High Flying Birds approach. Let’s face it; it isn’t wrong to throw up the middle finger to the world and feel at one through the power of music. Now, I was torn as to what mark to give this record. On the one hand, you have an enjoyable and uplifting record, but on the other, you have a very un-Green Day record.

7/10

Week Nine: Stormzy- Gang Signs & Prayer

~ honestopinions19 ~ Leave a comment

Gang Signs n Prayer

On the Brit Awards 2015, Stormzy (Michael Omari) was on stage with Skepta, JME and Jammer of Boy Better Know and a whole host of other grime MCs as Kanye West performed “All Day”, a track that was initially recorded with Paul McCartney as formally dressed guests (mainly from the music industry) looked on.

This was a significant moment for the grime industry as it was known in the mainstream for its gang-related and violent content, which was too graphic for the biggest awards show in Britain. It wouldn’t have been allowed if it wasn’t for Kanye West, who brought them on stage as he performed in 2015.

Grime has come a long way over the years, and Stormzy’s “Shut up” (which has well over 50 million views on Youtube) and “Wicked Skengman 4” broke into the mainstream singles charts. You can find many videos of MCs battling each other on Youtube (for example, Lord of the Mics). These MC battles and pirate radio sessions are where Stormzy was championed. With his sense of humour, witty lyrics, and larger-than-life personality, it’s easy to see why Stormzy has got far and even been invited onto mainstream chat shows.

The album starts and ends in the battle frame of mind, his forte. “First Things First” that kicks off the record is a jab to your face to wake you up and let you know you’re in for an eye-opening listen, and then you’re given a strong warning not to even think about clashing with Stormzy even if you feel you are ready, but lack the experience with “Cold” and “Big for Your Boots”. This record shows that Stormzy is prepared to seek new pastures, having already established himself as a battle MC. The record goes back and forth, warning lesser MCs, but “Stiff Chocolate” shows a much quieter side to his grime persona.

He then shows another side of his musical horizons with “Blinded by Your Grace, Pt.1”, which has gospel influences, and then again on “Velvet”, which shows a romantic side. The record might surprise the listener, who dismisses the grime industry as full-on violence. It is tough, sensitive and even spiritual. All emotions are shown in “Gang Signs & Prayer”, which shows the tall looming figure is not all about his

cold-eyed stare. The record might open with “First Things First”, which is quite menacing, but he even talks about his battle with depression and a failed relationship on “Cigarettes & Cush”.

He switches emotions constantly on the record and doesn’t feel ashamed to show it sometimes, even though he finds life challenging. He talks about being raised by his Ghanaian mother on “100 Bags” and how much she has inspired him and his unconditional love. 2Pac opened the doors for all rappers not to be afraid to express something as sensitive as that subject. “Lay Me Bare” is precisely what it says. This is Stormzy revealing all his heart and soul. You hear about his brief hibernation from the limelight in 2016, which left him feeling alone and highly depressed as the emotion in his voice aches, reminiscing about that point in his life. You hear his rage as he talks about the time he met his father, who wasn’t interested in being forgiven for his absence by his son, but a request for some financial support.

Of course, every Stormzy hit to date is your typical grime blueprint (ruthless and remorseless), but on this record, he wants to show all sides to his personality as Michael and not just his alter ego. Unfortunately, as he tries to show a softer side, he struggles to turn his rap vocals into singing vocals. This album may still keep in line with his tough man persona, but it has certainly been well structured with the themes and the production for a debut.

The biggest surprise in the rise of Stormzy is that he has done this without the backing of a major record label who, let’s face it, would not touch this kind of artist with a barge pole knowing what the grime scene is all about. Indeed, He has shown that he and other artists in the grime industry don’t need a major record label as like him; you can play shows, release singles via Spotify and feature on videos that get uploaded to sites like Youtube for exposure. At the 2017 Brit Awards (just two years after that performance with Kanye West), He walked into the venue via the red carpet with Bradley Walsh, smiling at the cameras and donning a suave Burberry suit. He went on stage to collaborate with Ed Sheeran on “Shape of You”, and the reception he got upon his introduction proved that Stormzy wasn’t just on stage as an afterthought.

8/10