The media has been excessively hyping up Beyoncé’s latest album, “Cowboy Carter”, which her massive following eagerly anticipated. Despite the endorsement of some well-known country artists like Dolly Parton, Willie Nelson, and Luke Combs, the album fell short of the high expectations.
This is the second part of a trilogy that Beyoncé is producing, and the album features 27 tracks with a runtime of almost 80 minutes. It’s a collection that could have been a country music masterpiece, with big names like Dolly Parton, Willie Nelson, and Miley Cyrus, and Paul McCartney on a cover version of ‘Blackbird’. However, it doesn’t quite live up to its potential.
The 27 tracks are filled with pointless interludes that add nothing to the album. Although some of these interludes are meant to be like radio DJ introductions, they add nothing to the album but make it feel like a tough listen. I wish there were more complete tracks instead of these inane interludes. By the time I finished listening to the album, I was relieved.
There are a few good moments on the album, such as the lyrical content and the guitar and harmonica played by Stevie Wonder on the ‘Jolene’ cover. However, using autotune on some tracks didn’t work for me, and Post Malone’s track with Nile Rodgers was also a letdown. I didn’t like the cover of ‘Jolene’ either. It didn’t do justice to Dolly Parton’s original version.
In conclusion, I didn’t enjoy “Cowboy Carter” and wouldn’t recommend any specific tracks. The album isn’t worth the hype it’s been receiving, and I am disappointed with its overall quality.
Here is a track-by-track review of the band’s new material for a very long time:
Angry:
The teaser for the record is undoubtedly up-tempo and effortless. It reminded me of some of their songs from the 80s. More so with the riffs rather than Mick’s vocals, which never seem to change.
Get Close:
What I liked about this track is the band went rogue with this one and added a saxophone solo and harmonies that are hardly “a la mode”. However, I like all that avant-garde stuff, so fair play to them for not trying to follow the trend—the first of two tracks to feaure Elton John.
Depending on You:
It is a radio-friendly country ballad complete with soaring strings.
Bite My Head Off:
Paul McCartney (Who recommended they return to the studio for the first time in over a decade.) features on this punk-fuelled track. You wouldn’t know his presence on the track until Mick bellows, “Come on, Paul!”.
Whole Wide World:
Another high-energy track that discusses Mick and Keith addressing youngsters about the things to look out for before they grow old and wise.
Dreamy Skies:
This is the halfway point and the end of the A-side of the vinyl (if you happen to purchase it.). As you can imagine, as it is the final track on the A-side of the vinyl, the tempo eases to a plodding country ballad, yet instead of lulling you to sleep, it still maintains the energy enough to grab your concentration.
Mess it up:
The vinyl’s flip side, or the second half of the record, begins with an outro/intro to give you the sense of being involved in the recording process in the studio with the band. Disco is not their most robust genre for experimenting, but it works with the stomping piano thrown in at the breakdown—this is one of the final tracks to feature their late drummer, Charle Watts.
Live by the Sword:
This is the final track to feature his drumming, leading off from the Charlie Watts thing. It is fitting, then, that this is also another uplifting track with a vibrant piano riff. However, this one is less disco and more what can only be described as a nod to the late Elvis Presley with Elton John(second and final track.) providing the aforementioned vibrant piano riff. Although not lyrically strong, it is surpassed by Mick’s vocal skills and Elton’s dazzling piano playing. Don Was from Was(Not Was) is on production. Ex-bassist Bill Wyman also makes a cameo.
Driving Me too Hard:
It’s a quintessential Stones track with recycled riffs. One for the purists rather than the casuals who might find this “safe” and just a filler.
Tell Me Straight:
It was the first track to have guitarist Keith Richards take over vocal duties. His vocals suit this melancholic ballad. Surprisingly, you want this one to last longer because there appears to be beauty in listening to this. I like melancholic songs, which the Smiths and Noel Gallagher have mastered, so I’ll let you cast your aspersions here.
Sweet Sounds of Heaven:
A sublime track. With Lady Gaga singing and the great Stevie Wonder working his magic on the keys, it doesn’t feel like the Rolling Bones(Deliberate.)are on this in any way, shape or form. It’s quite surreal seeing the band cede control of their track. It is the longest, weighing in at over seven minutes. Although Lady Gaga soars with her vocal performance, what happens when Mick returns to duet is beyond words. This gospel-inspired song is just exquisite. My favourite by far.
Rolling Stone Blues:
We end the album with the cover ‘Rolling Stone Blues’ by the legendary and late Muddy Waters. This is the first time the band have recorded the cover, despite it inspiring their name. It is a comedown after celestial ‘Sweet Sounds of Heaven’, but it doesn’t feel inferior in the slightest.
Song recommendations: ‘Sweet Sounds of Heaven’, ‘Angry’, ‘Mess it up’
Who doesn’t know who Elton John is? The man is part of music royalty. I have no idea how I was introduced to his music because he has been a constant, and I probably first heard him while I was inside the womb. He has released over 30 albums, hit the top spot just shy of 10 times, and won many accolades.
But as he revealed on the recent episode of Later…with Jools Holland at Helicon Mountain, just like everyone else, he found himself in the same situation during the lockdown. Indeed, Elton had to postpone dates for what he says will be his final tour, “Goodbye Yellow Brick Road Farewell Tour”. Elton has said on several occasions that he will quit touring for good. Still, this time, in conversation with Jools, he said that by the time the tour has finished, he would be shy of 80, meaning that he will probably be close to his mid-eighties by the time another album tour commences. Elton declared he wants to enjoy his family rather than being out on the road because he doesn’t particularly like touring as it is. Although he will retire from touring, he has said he will continue to release material for himself or collaborate with other artists.
So, how was the concept of this record born? Elton wanted to do more than play family games and watch television,which he initially did and wanted to be more active. So, instead of starting an album from scratch, he elected to do a collaboration record that features an array of talented musicians from Brandi Carlile to Yo-Yo Ma. Is the guest list a surprise? No. Not really. He has collaborated with pretty much everyone in the industry. The most surprising of all was with 2pac on ‘Ghetto Gospel’ in 2004 from Pac’s “Loyal to the Game” album produced by Eminem, who, despite using derogatory language towards homosexuals, ended up becoming good friends with Elton. Elton, of course, also has the likes of Ed Sheeran signed to his Rocketman management service.
I liked most of the album, albeit four tracks out of the 16. The tracks on “the Lockdown Sessions” are split down the middle between old tracks that were hits of his being tweaked and reimagined and the other half being unreleased and unique material. ‘Learn to Fly’ features the Texas duo Surfaces, inspired by Elton’s love of jazz. ‘Chosen Family’ is the standout track for me, which features Rina Sawayama (In fact, it is her song.), where they talk about…well, what the song title is.
Now, I recently found out that it is supposed to be in solidarity with the LGBTQ+ community, of which both Elton and Rina are a part, but when I heard it, I listened to a song about us all being as one. I didn’t hear a reference to just one community but a message for the whole world. When put in the setlist, this track will be the moment when all the phones and lighters are lit up. It is a lovely slow-tempo ballad. By far, it is his best work on the album; believe me, there is plenty of it on this.
I am not a fan of Years & Years, but the reimagined version of the Pet Shop Boys’ 1987 smash hit, ‘It’s a Sin’, is brilliant. It is globa! Reach mix showcases the vocals of Olly Alexander signing over an acoustic guitar before Elton comes with his piano over a pulsating disco beat that will fill many a dancefloor at a wedding reception and those cheesy disco parties. I don’t know how the lads from Pet Shop Boys feel, but it doesn’t discredit the track for me. It is more upbeat and less sad.
If it weren’t for the beautiful collaboration with vocalist Rina Sawayama, the next track I am going to mention would haveprobably been my standout, and that’s the collaboration with Miley Cyrus, Watt, Yo-Yo Ma and Metallica bassist RobertTrujillo on, funnily enough, Metallica’s 1991 soft and melancholic ballad ‘Nothing Else Matters’.
Miley’s vocal delivery resembles Lana del Rey’s with her gravelly voice. The song doesn’t deviate much from the original but is slower and more acoustic throughout. In contrast, the original involves a lot of electric guitar during the chorus and the solo section. You have to say it was a stroke of genius to bring on board a member of the band, Robert Trujillo, who would have made sure that the version by Elton did the original justice rather than see it spoiled or maybe even murdered by overproduction or sending it into the cheesy pop realm.
The record’s diversity is quite something to behold, as you can tell by some of the tracks I have already touched on (Have you been paying attention? Hahaha.). Another disco and uplifting song is ‘Orbit’, featuring SG Lewis. I say disco, but is it? Well, yes and no. Yes, it is disco, but no, it ventures into the early days of what was to become house music, but with a retro twist. You are propelled back to the 1970s disco fever era but with an element of early house. Touching on the record’s diversity, Elton said it sent him back to his time as a session musician in the late 60s and how he has managed to balance the music he grew up with and the music that young people are currently listening to. Elton isn’t trying to appeal to just one audience, nor is he treating this as just a joke of a collaboration album. He has put serious work into this, and it has paid off.
The next song I will mention is with an artist I have heard an awful lot of late and watched, god knows how many documentaries about her, and that’s Elton’s excellent friend Brandi Carlile. They team up on ‘Simple Things’ that, as you can imagine, is embedded into Brandi’s country roots. Elton brings his country concept to the track and talks about the wisdom he has picked up throughout his years as a musician. I mean, there are just so many great tracks on “the Lockdown Sessions”. I am goingto sum up the following shortly and sweetly:
‘E-ticket Ride’ featuring Pearl Jam’s Eddie Vedder: This is their glam-rock take on the Beatles classic ‘Ticket to Ride’, but the lyrics are updated for a modern world. Hence ‘E-ticket’.
‘Finish Line’ featuring Stevie Wonder: Stevie is a music legend in his own right and brings gospel to this song,making it spiritual.
‘Stolen Car’ featuring Fleetwood Mac’s Stevie Nicks: This track could be mistaken for the same couple from ‘Don’t GoBreaking My Heart’ talking about their relationship through those 45 years.
‘I’m Not Gonna Miss You’ featuring the late Glen Campbell: Glen would be proud of Elton’s collaborations and his reimaginingof his songs and others. Indeed, I love Glen’s covers of the Foo Fighters ‘Times Like These’ and Green Day‘s ‘Time of Your Life (Good Riddance)’, respectively. It is a negative way to close the album and is probably the final wave by Glen. We lost him in 2017, but I imagine Elton has stored away this one for years, and through the lockdown, we have had the opportunity to say goodbye to Glen on this downtempo ballad.
My one disappointment with the record is that there has yet to be room for the late Leon Russell, who passed in 2016. Elton was a massive fan of Leon’s, even recording an album with him in the early 2000s. I was surprised not to have seen a collaboration with Leon on a track from those early 2000s sessions. I would have listed the ‘the Pink Phantom’, which also features on Gorillaz’s latest album, “Song Machine”. Overall, the track is excellent, and I have heard it at least four times on the band’s current tour. However, 6lack ruins it for me because he uses that software I detest, and the guy can’t sing anyway, so it doesn’t add any value to the track. It spoils it. Take him off, or get him to rap without the vocal software; you have a great track. This latest album is a testament to Elton’s ability to switch the creative tap on when necessary.
Song recommendations: ‘Chosen Family’, ‘Nothing Else Matters’, ‘Simple Things’
Sadly in December 2016, on Christmas day, George was found dead at his Oxfordshire home. The world was devastated by the news, as you can imagine. Although a very troubled, talented artist, George gave the world great hits such as 1987’s “Faith”. to pay homage to him, his second album, “Listen Without Prejudice Volume 1 MTV Unplugged” from September 1990, has been re-released. I was astonished that this album was elected for re-release when you consider all the bullshit he went through upon its release in America, where they just dismissed it as George trying to gain some credibility after he had left Wham! Indeed, they saw him as an arrogant prick who needed to be taken down from his pedestal and used this album to beat him with that stick.
To make matters worse, this record would also light the blue touch paper with his record label, Sony Music, where he was embroiled in a long and nasty contractual battle. Indeed, he even attacked Sony in 1996’s “FastLove”, where you can see him wearing headphones called “Fony”, evidently in the style of the Sony logo. By this time, he had already got out of his contract and feud with Sony and signed to Virgin Records and Dreamworks, respectively.
The comeback in the mid-1990s would also see him finally coming out to the public as a homosexual. Although he may have signed to those two labels, he didn’t win the war with Sony. He accused the label of several things but highlighted the lack of promotions of his singles, albums and tours. By highlighting his lousy treatment by Sony Music, he set a precedent for other artists signed to major record labels to rebel against the constraints put on them within the industry. It has only taken until now for the American market to show their appreciation for this record and George after years of snobbery behaviour. To show how timeless this record is, most of the songs on the album, where George touches on the subjects of life, love and his sexual orientation through his lyrical content, are very much as relevant today as they were back in 1990.
Staying with relevance, “Freedom” and “Praying for Time” are probably more apt than ever during the current climate. Then, we have the jazz song with a pop flavour, “Kissing a Fool, ” which puts a smile back on our faces and makes us feel good about ourselves, taken from his 1987 record, “Faith”. There’s even a cover chucked in for good measure from the MTV Unplugged performance in the shape of “They Won’t Go When I Go” from Stevie Wonder’s 1974 album “Fulfillingness’ First Finale”. I must say that George gives the song justice.
Like the remastered “Faith” released in 2011, this record has been released in the following formats, CD/DVD, double disc, vinyl and available for digital download. The triple CD has the following, “Listen without Prejudice” remastered, the 1996 MTV Unplugged Live LP, various remixes, unreleased tracks and B-sides from the recording sessions for the record. Plus, a DVD with a plethora of bonus content. There is the remastered album and the MTV Unplugged Live performance on the other formats.
There is also a bonus disc that will certainly intrigue George Michael’s die-hard fans as it includes tracks from what was supposed to be the follow-up to this record called “Listen without Prejudice Volume 2” (Naturally.). Why was it aborted? Who knows, but it would have seen George return to the Disco genre. The following songs from the aborted record include “Too Funky”, “Crazy Man Dance”, “Do You Want to Know”, and “Happy”. Nile Rodgers also appears on the record with his production of “Fantasy”. This version by Nile is the first single off the reissue. Of all the albums George did in his short career, this one is the most timeless, and all the subjects featured are still relevant. It is also a fitting tribute to George’s talents.
Overall: I enjoyed this record. I must confess that it is the first time I have heard it (Well, the first time, I can recollect hearing it, anyway. I might have heard it back then and not known.). My favourite song of his is a bit clichéd. It is none other than 1984’s “Careless Whisper”. I remember hearing it on plane journeys before taking off in my youth and found it quite soothing. I don’t mind some of his songs with Wham! Like, “I Don’t Want Your Freedom”, but songs such as “Jesus to a Child”, “Careless Whisper”, “Kissing a Fool”, and “Don’t Let the Sun Go Down on Me” are my personal favourites. The second disc has my favourite track from this record, and it is the revamped version of “Fantasy” by Nile Rodgers. Although I must confess I am not a great fan of acoustic guitar, I love hearing songs played acoustically. It is well-known that most songs begin their life on the acoustic guitar. Artists such as Noel Gallagher, Robbie Williams, Vince Clarke and Andy Bell (There are more that I cannot remember at the moment.) start writing their songs on the acoustic guitar. Most great electric songs can be played in both forms, and that is the sign of a perfect song. I also liked this record because, unlike George’s electric songs, the acoustic versions give the songs a lot more soul, and you can feel and hear their true meanings. Sometimes, this is lost in electric because an awful lot happens, but once a song is stripped back, it reveals itself. This record is well worth the listen to hear the inner soul of the songs and is an apt tribute to George’s legacy and memory.
Honest Opinions 