Spoken Word

Week 44: Dave- The Boy Who Played the Harp

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I was stunned to discover that Dave hasn’t released an album in over four years, but as the review progresses, you will see why the wait was worth it.

You are probably wondering about why that title? Well, it is a biblical reference from the book of Samuel foretelling the story of King David. Quite funny, really, when the artist in question shares the same name.

The production doesn’t lean towards hip-hop and anything that might resemble a banging tune. Instead, it is more introspective, featuring piano, spaciousness, and ethereal tones. Occasionally, the harp features, and Dave even picks up the guitar on the 6th track.

In regard ot the themes, he focuses on dealing with fame, identity, legacy, being a man, faith, and how he has a sense of duty to his listeners and society. Rather than basking in his achievements, he questions what his roleand voice is doing to lead by example.

Now, part of the summary is out of the way; let’s look at the songs that caught my ear:

History:


The opener sets up the rest of the record. Dave addresses everything about himself. James Blake not only features on the track but also produced it, creating a typical atmospheric soundscape that he adopts, complete with tender piano and reverb space that allows the words to land, allowing the listener to engage with the thought-provoking lyricism from Dave, which is always interesting. I have never found him at a loss for words. In fact, let’s look at that on here. Dave refers back to King David, and as the record progresses, you hear why he uses this biblical figure to illustrate power, vulnerability, and how music heals the soul. Never mind, if the track is not for the commercial market, but rather the lyricism and the matching mood of the music.

Chapter 16:


What more can you say? It features the amazing Kano. I have been a fan of Kane since the early days of grime, so this track was never going to be skipped. The pair trade verses, discussing their legacies, the rap game, and how they feel burdened by representing the scene. Once again, James goes for a minimalist sound with his trademark piano chords and a beat that allows for reflection.  Dave pays tribute to Kano, stating that he has been a fan of his since he was 14 years old. Kano also  praises his younger counterpart. The song connects all timelines of UK rap, with Dave accepting his role in its future, while also questioning what he wants and what he owes. The track could have easily been one of pure egotism, but Dave shows humility alongside ambition, and, of course, what his legacy is.

Raindance:


Unless you follow her closely, have seen her at major festivals, or watched Later… with Jools Holland, the Nigerian vocalist Tems, who features, will probably have escaped your attention. The Afrobeats-inspired track, over reflective piano riffs, is more light-hearted than the previous tracks. Dave is more playful with Tems. The lyricism focuses on Dave enjoying a night out, where he meets someone, apologises for future relationship struggles, and references the concepts of marriage and property. This track takes him out of his comfort zone with Afrobeats, but it works well with Tems, nonetheless. A bit of a breather from the heavier songs so far.

Selfish:


James Blake returns from the control room with a heavy, moody, introspective, and self-confessional collaboration. Dave examines what fame has cost him in life, including narcissism, and what his ambition entails. Dave also highlights how his bravado is often laced with self-doubt. A typical James Blake production, leaving Dave’s wordplay time to breathe. Another heavy, but lyrically intriguing track.

My 27th Birthday:


This nearly eight-minute track focuses on self-reflection, with Dave looking inward at his legacy, expectations, age, and how he has evolved.  Again, the production is more of the same, with a blues-inspired piano riff with looping vocals.  The lyrics are used as a metaphor for a day/year that’s in motion or standing still.  Dave once again examines his role in society and considers how he can utilise his voice to create a positive change in the world. He also examines how fame can be a burden rather than a blessing, as he feels that people are being cynical about the messages he is trying to convey. They are using his fame as a weapon against him when he is less likely to return to a life of poverty. A very deep listen.

Fairchild:


Dave gives a chance to the upcoming talent of Nicole Blakk and lets her showcase her views, where she discusses being the unfortunate victim of assault, which has triggered a fear of men, and her experience of misogyny. This evokes emotions in Dave about how incels behave, and he questions why his fellow men more often than not turn a blind eye to this unacceptable behaviour. Dave even questions if sometimes he, too, has shown misogynistic traits, which is perfectly portrayed in the line “All know a victim, don’t know a perpetrator, am I one of them?” It may be a heavy listen, but it is what you would expect from him. It’s a deep track with substance. It is refreshing to see a male address violent behaviour towards, whether he has unknowingly done it himself, and how he feels a sense of responsibility to make his fellow man aware of this abhorrent behaviour.

The Boy Who Played the Harp:


The closing and title track uses a sample from The Beatles. The track’s name eludes me at the moment. This track makes the premise of the album all make sense. The name, the purpose, the record’s identity, the burden he feels, and the activism displayed.  I love the premise behind the lyrics, as he places himself within historical moments, such as world wars and the civil rights movements. He ponders if, like in those moments, he can speak up, act, and lead when necessary. The title track, like the rest of the album, ends strongly, leaving the listener to ask themselves the very questions he did throughout. Bizarrely, though, there is no harp. Just a piano.

Strengths & Weaknesses


Now let’s address where the record is good, and where it falls down:


Strengths


Of course, it has to be his lyricism. I mean, after all, that is what he primarily is. Dave started as a spoken word artist before moving into rap. I love his wordplay, detail, reflection, and how he uses metaphors.

The album is streamlined rather than a mishmash of songs. There is a constant string of themes that remain consistent.

He isn’t coy about asking himself challenging questions, rather than doing a record that focuses on his success.


If you ask me, what are the highlights of the album? Well, it’s all of the tracks above.

When I get to the song recommendations, I’m going to have a think about what three stood out.

This is up there with his best work to date.



Weaknesses / criticisms


This is not my opinion, but looking at it from a critical point of view, you have to say that James Blake’s production is too moody and lacks dynamism.

The tracks are not chart-friendly, both in terms of lyricism and production. There is also a lack of hooks, which may hinder the number of plays he receives in the mainstream.

Some listeners will feel that the themes are more of the same, and doesn’t bring anything new to the table.

Coda


Although the album may not be that chart-friendly, it is full of thought-provoking tracks, which to me, is always better than sacrificing for the sake of the singles chart. It is up there with his best work so far. You just have to look at songs like ‘Fairchild’, ‘Chapter 16, and ‘My 27th Birthday’ to see the maturity in his writing, and how they all have a purpose. It may not have the hits that have featured on past records, but this is one for the deep thinkers, who will appreciate Dave’s approach.
My personal opinon is, I love it. A very strong record that cuts through all the bullshit.


Song recommendations: ‘Chapter 16’, ‘Fairchild’, ‘The Boy Who Played the Harp’


9/10

Week 11: Ariana Grande- Eternal Sunshine

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Let’s dive straight into the track-by-track review:

intro (end of the world):

This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.

bye:

From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”

don’t wanna break up again:

Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.

Saturn Returns Interlude:

Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.

eternal sunshine:

We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.

supernatural:

Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.

true story:

She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.

the boy is mine:

Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.

yes, and? :

This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.

we can’t be friends (wait for your love):

As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.

i wish i hated you:

There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him. 

imperfect for you:

This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.

ordinary things (ft Nonna):

As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on. 

Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’

8/10

Week 50: the Killers- Rebel Diamonds

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A mixture of brief and long track-by-track reviews:

Jenny Was a Friend of Mine:

Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.

Mr Brightside:

THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.

All These Things That I’ve Done:

Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’. 

Somebody Told Me:

Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.

When You Were Young:

The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.

Read My Mind:

Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’

Human:

I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.

Spaceman:

It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.

A Dustland Fairytale:

It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.

Be Still:

An unimpressive ballad.

Runaways:

This track is Bruce Springsteen-esque.

the Man:

I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).

Caution:

Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.

My Own Soul’s Warning:

It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity? 

Dying Breed:

Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.

Pressure Machine:

This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.

Quiet Town:

A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.

Boy:

Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.

Your Side of Town:

Quintessentially the Killers.

Spirit:

The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound. 

Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’

8/10

Week 49: Peter Gabriel- i/o

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Here is a summary review of all the tracks:

Panopticom:

Pop-funk verse, acoustic guitar in chorus, tempo changes throughout with Brian Eno on synthesisers.

the Court:

Similar to ‘Panopticom with piano at outro and Brian Eno on synthesisers.

Playing for Time:

Emotional piano ballad accompanied by strings.

i/o:

Lyrically focused, it grows from a relaxing melody into a singalong anthem.

Four Kinds of Horses:

Briano Eno on synthesisers and electric worms, half-spoken verse, rousing bridge, and a subliminal message chorus.

Road to Joy:

Brian Eno on production, uplifting track with a catchy hook.

So Much:

An emotional track over the piano with Soweto Gospel Choir.

Olive Tree:

Classic Peter Gabriel with an air-punching chorus.

Love Can Heal:

Something of a lullaby.

This is Home:

Outstanding vocals over a fantastic production.

And Still:

An emotional track addressing the death of his mother.

Live and Let Live:

Brian Eno on synthesisers and rhythm programming, Soweto Gospel Choir also features. Peter said the late Nelson Mandela and the late Desmond Tutu inspired the track. It’s a track about love and forgiveness.

Conclusion:

This is a quintessential Peter Gabriel album, which isn’t a bad thing, but the tracks are incredibly long, and I would describe the production like a river—everything flows, but the songs all sound similar, with some exceptions. I don’t know how this got to No.1 when the kids these days stream music, and I wouldn’t have Peter Gabriel at the top of their list. I can only think that “i/o” has been bought for parents/grandparents, uncles and aunties as a Christmas present. Still, fair play to him for managing to score a No.1 album in this day and age.

Song recommendations: ‘Panopticom’, ‘Four Kinds of Horses’, ‘Live and Let Live’

7/0

Week 47: Madness- Theatre of the Absurd Presents C’est La Vie

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Who doesn’t like Madness? I mean, you have ‘Baggy Trousers’, ‘Our House’, ‘House of Fun’, Midnight Boat to Cairo’, ‘Lovestruck’ and ‘One Step Beyond’ to name a few classics by the collective. Of course, there is a more serious side to the band with songs such as ‘Must be Love’ and ‘Johnny the Horse’. They are not all full-on ska and uplifting sing-a-longs.

I recall a film that came out via BT and AMC during one of the lockdowns called “Before We Was We”, featuring the current members and the former member Chas Smash (if it wasn’t for him being the hype man, to begin with, I am not sure Madness would have been signed.) and this album kind of follows that theatre vibe. You have an introduction, prologue, acts, and, of course, the finish.

Leading off from the opening paragraph, this record is not your typical lively Madness album, but one that is quite reflective and discusses the current climate of world affairs. What is refreshing about the record is the band has made it the way they want it. Some fans might have got over-excited when the band announced a new album, clearly expecting the usual knees-up anthems. People like me, on the other hand, welcome this. It is quite an eclectic listen; for example, ‘Run for Your Life’ is rock, ‘If I Go Mad’ is funk, and ‘Set Me Free’  brings melancholy. Thommo takes over from Suggs to lead vocals on ‘What on Earth is it (You Take Me For?’ and ‘the Law According to Dr. Kippah’ with Suggs backing him on the latter. Thommo also does what is really the opening track (If you exclude the pointless prologue.), ‘Theatre of the Absurd’, where he does it in spoken word.

The prologue appears to be in a crowded place, more than likely a public house, because you can hear hubbub. I didn’t pay that much attention to that, the acts, and the finish because they are pointless fillers. They are short and add nothing except to give it a “theatre” feel. These are all narrated by the actor Martin Freeman. ‘In My Street’ has the familiarity of their classic ‘Our House’, and trust me, when you hear it, you will immediately come to the same conclusion.

I suggest the clowns who voted leave give this a miss because the band are unapologetic as they rip to shreds the sorry state Britain is in due to the consequences. They aim at racists and politicians and how the country is on its knees. Despite the raw subject matters, they are cleverly concealed among love, humour, catchy hooks, and optimism. It’s not your quintessential Madness record, and I am surprised this is their first ever No.1 album when they had some vibrant ones out during their pomp. It is worthy of its place and shows their more sincere and political side. It’ll be interesting to see if it becomes timeless due to the nature of the record. 

Song recommendations: ‘In My Street’, ‘Set Me Free’, ‘Theatre of the Absurd’

8/10

Week 41: Ren- Sick Boi

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The first I heard of Ren was when the Welsh rapper/vocalist/guitarist/songwriter, who is Brighton-based, released a video on social media saying how surprised he was that he might get the top spot this week. From there, I checked out his material and loved it. I fucking love “Sick Boi”. It is choc-full of wittiness, wordplay, sarcasm, comedy, and profound moments. There is even a sample of Barrington Levy’s ‘Murderer’, which appropriately carries the same name. This record talks about Ren’s years of being in bed with some physical illness, and I think he is borderline schizophrenic from what I have read. I know he mentions depression and feeling suicidal on the album.

I forgot to mention that Ren does spoken word, too, which shines throughout. His songs are both funny and serious. You will notice in his songs that he changes his vocal delivery. He puts on soft vocals for the good side, and for the evil side, he is more nasal. He also uses an array of vocal deliveries to represent what verse you are listening to. I could name most, but you will get the gist once you have listened to what I am saying. The change-up in rhythm to his vocals is just impressive, plus he sometimes gets out the acoustic guitar. I loved ‘Down on the Beat’, ‘Animal Flow’, and even tender moments like ‘Suicide’. This album is mad because you get to see Ren battle himself brutally and honestly. However, don’t be put off by his mental health issues because he is one talented guy. The mainstream has been sleeping on him. It is excellent he is finally getting the recognition he so richly deserves. Hopefully, “Sick Boi” getting to number one will help his convalescence.

Song recommendations: ‘Suicide’, ‘Down on the Beat’, ‘Animal Flow’

9/10

Week 11: Miley Cyrus- Endless Summer Vacation

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I do not know how I first came to hear of Miley. I just knew she was the daughter of Billy Ray Cyrus, who had the early 90s country pop smash shit ‘Achey, Breaky Heart’. I also knew she played a character called Hannah Montana on some children’s television channel, and I believe she was also part of the infamous Disney Kids Club. I remember her appearing as Jake’s fling on Two and a Half Men. Now, as you can imagine, the music I have heard of hers is all that awful pop chart shite. But I have enjoyed her collaborations with DJs, and her country songs, which her vocals are better suited for. I also enjoyed her cover of ‘Nothing Else Matters’, which I reviewed on someone’s album. The name of the artist who collaborated with Miley to cover the popular Metallica songs escapes me now. I have so far avoided her cover of ‘Slideaway’ by Oasis. I have heard it’s good, but nothing beats the original or better.

So, “Endless Summer Vacation” certainly wasn’t the usual kind that Miley churns out; far from it. This album is not pretentious in any way. Miley reveals every detail about her marriage, divorce, embarking on a relationship, and other topics, with minimal swearing, which is a surprise.

I need clarification on why the opener “Flowers’ gets a raw deal. It is by far the best song on the record in both guises (The closer is a stripped-back demo version.). Again, I wasn’t expecting her to do a melancholic song over a disco stomper, which also throws in a strings section that deems this track a comparison to Gloria Gaynor’s ‘I Will Survive’. I like how the song is directed at Liam Hemsworth, but with the disco vibe, you are carried away by the uplifting instrumentation.

‘Jaded’ is the second track, and…wow! Fucking shoegaze? I never thought I’d hear Miley channel the War on Drugs or Slowdive. So, you got that floaty instrumentation over a synthesiser and Miley’s best vocals on the record. The topic concerns being in a dysfunctional relationship and how she is often at home waiting for her boyfriend (Now an ex, in this case.)to return from the bar after heading out in his car. However, he does not try to notify her of when he will return, so she is unaware. She is exhausted by his coping mechanism. Hence, why the chorus says, “You Leave me feeling jaded”.

The next song is ‘Rose Colored Lenses’, another shoegaze moment. ‘Thousand Miles’ follows, which features Brandi Carlile on co-vocals and acoustic guitar. This Americana track is about keeping your shit together when the head is all over the place. ”Handstand’ is a spoken word song with a synth and springs to life after the halfway point turning into electropop. Only then will the song have a lot going on.

‘Muddy Feet’ features Sia on both the song and the writing credits and sees Miley aim at a cheating ex. The delivery is raspy until she steps it up by telling him to “fuck off”.

‘Wildcard’ sees Miley explaining her imbalance in a relationship, saying that she wants it all and is fully committed, but she cannot guarantee that it will remain that intense. 

‘Island’ is a double-sided coin. It can mean feeling euphoric about finding someone, and then it can also mean feeling alone after breaking up with someone and longing for those moments.

On the outro, Miley has shown maturity on this album and discusses things she might have shied away from before. It certainly is an eye-opener to the honest Miley and not the one portrayed in the media.

Song recommendations: ‘Flowers’, ‘Flowers(Demo)”, ‘Jaded’

7/10

Week 48: Stromzy- This is What I Mean

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I have enjoyed his previous two, but this one turned out to be disappointing. Unfortunately, Stormzy has discovered auto-tune, which makes a potentially good album utterly shit. I am not putting sugar on anyone’s cornflakes. This album was rather enjoyable to listen to until THAT kicked in. There was one particular song I was getting into (I believe it was the title track.) featuring the multi-instrumentalist/singer/beatboxer Jacob Collier, with his phenomenal harmonising. Still, it was unfortunately ruined by a rapper using auto-tune. Jacob features quite heavily on this record, but most songs could be better. I only enjoyed two songs because they were auto-tune-free. ‘Please’ is spoken word over keys and a gospel choir, and ‘Need You’ is spoken word over Afrobeat. This is the first time I have heard Stormzy perform spoken word, and it was refreshing to hear. 

Song recommendations: ‘Please’. ‘Need You’

4/10

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 9: Central Cee- 23

~ honestopinions19 ~ Leave a comment
First and foremost, I am not a great lover of Drill. Yes, I saw the Noisey documentary from 2019 with Mike Skinner from the Streets and didn’t like what I heard. However, I heard about Drill in 2019 through an associate who was mad about it. I didn’t like the bullshit lyrics I heard about wetting a man up in a club or jooking man on road. I know about these sorts of bars, and I am guilty of writing them for clashes during the early years of Grime, which now make me recoil in horror. I still have the bars in one of my many Bibles, but I will look to amend them for my venture into Spoken Word. Drill is like the underground and darker version of Grime. People used to bitch and moan about what the Grime artists would say. Some have resulted in killings, like Esco Barz, the younger brother of retired footballer Jermain Defoe. I was never a fan of these MC battles, and when Esco was killed, it turned me off them completely. Drill has seen many artists from that genre serving time for murder, attempted murder, assault and other forms of crime. The genre pretty much encourages it. 


I remember showing a 22-year-old man my poems; the subject was current affairs. He responded, “You got bars still, but we youngsters don’t want to hear that. We want to hear about man getting jooked up.” This horrified me, but at the same time, I thought, “That’s bollocks”, and I am going to tell you why just shortly, but first…Central Cee is a young Drill artist hailing from Shepheard’s Bush, which is a stone’s throw away from QPR in White City. Central Cee, or Cench, has been around longer than you would assume. It is also unusual to see a mixtape become No.1 on the album chart. So this West Londoner started first to get noticed last year, and it is easy to understand why Central Cee isn’t your run-of-the-mill Drill artist; he goes deep on the subjects and doesn’t bang on about wetting or jooking man up. His topics are diverse. I first heard ‘Obsessed with You’ in February, and it opened my eyes to the fact not all Drill glorifies violence. I was listening to a Grime artist until it was pointed out that Cench is Drill. I was stunned.


“23” opens with ‘Khabib’, which I enjoyed. It then went into ‘Ungrateful’, where Cench says, ‘God, I don’t wanna seem ungrateful, but I don’t wanna live’—quite a big statement for a young man to express. The song talks about his trials and tribulations in life and his frustrations. Already, he had my attention because this seemed out of the norm from other Drill artists I had heard before. The record is short, with many of the 15 songs lasting a few minutes, including four staying under two. I don’t know why that is. Is all this getting songs viral via videos on TikTok the reason? He packs in as much information and hard-hitting messages despite the disappointing track lengths as possible. I will use a track, a prime example, ‘Obsessed with You,’ a track I have heard in its original guise, and a Drum n Bass remix by Hedex (I think.). This track is also proving popular among his fans and the mainstream. ‘Obsessed with You’ features PinkPantheress, who is well-known for her short viral songs on TikTok. It is a shame she is reduced to sounding like a Chipmunk. You can tell she can sing, but the vocal effect mars her talent. It is about Cench calling out to a former lover and what he did wrong. You don’t usually hear anything like this in Drill. 


Cench is more Grime-headed for me. His potential is yet to shine through, but it is undoubtedly there. He is at the forefront of steering Drill into a new direction and changing the opinion of those who look down on it for its glorification of violence.


However, my favourite track is ‘Lil Bro’, which features Lil Bro. They converse with Lil Bro, playing the role of Cench’s Lil Bro, where he says to Cench he wants to be a drug dealer. Cench tells him about the pitfalls of going into that and how it would hurt his mother, even though Lil Bro has no choice. Cench tells him there are better alternatives. He says to lil Bro, ‘It’s London City/not Compton’. He also discusses the trials and tribulations of fame, the misconceptions of gang culture, and the dangers of becoming a drug dealer. It is an eye-opening track; hopefully, the majority will take away a lot from it. Again, Drill artist? Are you sure? In the final track, ‘End of the Beginning, ‘ Cench uses many voice notes from his close friends, encouraging him to move with the music and giving him sound advice littered with motivational quotes with Cench rapping over a Trap beat.


“23” will undoubtedly change your perception of Drill. Cench has brought a realness to a scene known for its violent episodes. I have enjoyed listening to Cench since that moment earlier this year. He is one to watch in 2022 where he plans to improve his game. His mixtape getting to No.1 will already have A&R personnel scouting him at venues. 


As for the young man telling me that youngsters don’t want to hear life stories and me thinking it’s bollocks, Cench proves that it is indeed bollocks. Look at what he has spoken about across this record. It isn’t about “Wetting man up” or “Jooking man up”; it is much deeper and touches on life stories. There is finally room for it in Drill, and it is welcomed. Hopefully, it opens the eyes of those who are into Drill.




Song recommendations: ‘Lil Bro’, ‘Ungrateful’, ‘Obsessed with You’




9/10