The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.
Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.
Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.
‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.
Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.
I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.
The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.
Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’
I loved “Foreign Tongues” from start to finish, and the long, long wait was well worth it. There’s nothing nostalgic about it; it’s full of energy and swagger. The grit and attitude are on full display on songs like ‘Rough and Twisted’, ‘Hit Me in the Head’, and ‘Jealous Lover’, which has defined their sound for more than 60 years. The Stones proved they have still got the ability to write catchy, memorable rock songs with tracks like ‘Mr. Charm’ and ‘Divine Intervention’
I loved how fun the album was. It never feels forced or tired. It sounds like a band enjoying themselves. Andrew Watt has done a great job with the production, with the songs sounding fresh and powerful, but still preserving the unmistakable Rolling Stones sound. Mick’s Jagger’s vocals are top drawer, and the rest of the band ride on the brilliant production.
Usually covers are a bit of filler on an album, but the versions of Amy Winehouse’s ‘You Know I’m No Good’ and Chuck Berry’s ‘Beautiful Delilah’ are done justice. Amy’s one is done with a bluesy swagger, and Chuck’s is a nod to one of the band’s greatest inspirations.
This record just sounds better with every listen. Energetic, strong, and plenty of memorable tracks. It has to be the best album from them in recent times. Can you imagine what they’re going to sound like live? I can’t fucking wait.
Song recommendations: ‘Hit Me in the Head’, ‘Jealous Lover’, ‘You Know I’m No Good’
It is undeniable that Madonna has left a lasting impression on pop music. Since her pomp in the 80s, she has always adapted her image and style, changing the face of electronic music, dance-pop, and pop culture.
A career spanning over forty years has kept her in the limelight and flexible, which is why she is dubbed the “Queen of Pop”.
Now, after quite a lengthy wait, she has returned with the soundtrack to “Confessions II”, where she has returned to the dancefloor sound that made the first “Confessions on a Dance Floor” album a big hit, but with a more thoughtful feel.
The production is what shines the most this time. Stuart Price has done a wonderful job bringing bright electronic beats and big club rhythms to life on tracks like ‘I Feel So Free’, ‘Danceteria’, ‘One Step Away’, and my overall highlight ‘Love Sensation’. It has a catchy hook and uplifting production, making it a typical Madonna track. It isn’t up to much lyrically, but the production is enough.
The album focuses on style rather than substance. The music is absolutely brilliant, but the lyrical content is either minimal or repetitive.
Songs that had potential, like ‘Good for the Soul’, ‘Read My Lips’, ‘Everything’, ‘Love Without Words’, ‘Betrayal’, and ‘The Test ’, fell down due to the excessive use of autotune.
However, “Confessions II” may not be her best album, but it is uplifting and fun with plenty of club-influenced tracks.
The songwriting isn’t the best, but does it need to be? The record is all about uplifting production with dance beats, which more than makes up for it. If you are looking for thought-provoking lyricism, then this album isn’t for you. If you want to have fun and get lost in the music, then you are going to love this.
Song recommendations: ‘Love Sensation’, ‘Danceteria’, ‘I Feel So Free’
This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.
The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.
I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.
I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.
I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.
Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’
Niall Horan’s ‘Dinner Party” was not about big pop hits, but rather the main theme of romance and home. It is calmer than “The Show”, but it shows a level of maturity and self-assurance.
The album begins strongly with ‘Tastes So Good’, which is energetic, and then the title track expresses how he met his significant other. The more laidback yet heartfelt tracks are ‘She Gets It from Her Mother’, ‘Better Man, and ‘Little More Time’, showing that Niall is now comfortable and sincere with his writing.
The only negative I could find was with ‘Monochromatic’, yes, it may match the record’s overall sound, but it lacks the emotional impact and is less catchy than the others. It simply blends into the background.
The album keeps up that warm fuzzy feeling into the second half with tracks ‘Flowers’, which is easy to enjoy, ‘Boys Are Fun’, which is playful, and ‘Pretty’, which stands out for its great guitar work. The record ends on the melancholic ‘End of an Era’, which was out of the blue.
It’s not his best work, but the writing is great and heartfelt, focusing on raw honesty rather than showboating. It may not be better than ‘The Show’, but it certainly grows on you, and the more you listen, the more beauty is revealed in the songs.
The songwriting is exceptional, and to be honest, I wasn’t expecting such a mature album.
Song recommendations: ‘Tastes So Good’, ‘Dinner Party’, ‘Pretty’
Before we explore “The Essential”, let us take a moment to remember why Michael was more than just a pop star. The guy revolutionised music videos into a cinematic experience; he blended pop with several genres, including rock, funk, soul, and dance. His songs are still played on radio stations, streamed,fill dance floors, and feature on playlists even now.
He began performing with his brothers in Jackson 5 before becoming the “King of Pop”. He then went on to create one of music’s most influential catalogues. His hits were not just merely popular; they became embedded in popular culture.
“The Essential”, released in 2005 and featuring his strongest collection of songs, has been reinvigorated by the recent biopic “Michael”. Indeed, looking at the charts, I can see several of his albums inside the top 20. This particular record covers all bases: the child prodigy, the disco innovator, global superstardom, and the artist who mixed real emotion with showmanship. As you will discover in the review that follows, the classic that stands above all for me is ‘Beat It’. A point that proves why Michael was unstoppable during his short but impactful life.
Disc One:
I Want You Back:
What a great beginning to the Michael Jackson story. Even as a kid, playing with his brothers in the Jackson 5, his vocals stood out. You still feel the energy after all these years.
ABC:
Not one of my favourites. I find it far too cheesy and lacking lyrically.
The Love You Save:
One of the Jackson 5’s unsung hits that deserves more attention. His vocal ability at such a young age is mind-blowing, backed up by a great groove.
Got to be There:
A softer and more emotional part of Michael’s vocal range. He delivers with conviction.
Rockin’ Robin:
A fun track, but again, too cheesy for me.
Ben:
Anyone remember this? I can honestly say I didn’t until I heard this compilation. An emotional and simple track with a surprising sense of maturity, and his vocals add tenderness.
Blame It on the Boogie:
Always loved this dance song since I was a youngster at birthday parties, including the dance moves. A track that never lets go of that uplifting tempo.
Shake Your Body (Down to the Ground):
More explosive disco energy, and another one I used to skank out to back in the day. This was the beginning of his superstardom.
Don’t Stop ’Til You Get Enough:
This was the moment when Michael stepped into his role as a solo icon. It has falsetto vocals, displays confidence, and has a sublime groove.
Rock with You:
A smooth song that is almost perfection. It just glides with ease from the outset.
Off the Wall:
It may sound sharp, but the production of the title track from that album is stylish and relaxed. It captured the wave of late-70s dance perfectly.
She’s Out of My Life:
One of his more vulnerable vocal performances. Instead of letting his vocals sound absolutely heartbreaking, he holds back a bit, which actually adds more emotion to the ballad.
Can You Feel It:
You may remember a late-90s dance track about what someone would like with a chimney on them? Well, this is the track that’s sampled. An uplifting, almost spiritual disco track that’s big and powerful.
The Girl Is Mine:
One of the underrated tracks on “Thriller”, but you can feel the chemistry between Michael and The Beatles legend Paul McCartney.
Billie Jean:
Another floor filler, and continues to be so. One of the best basslines in pop, accompanied by Michael’s hypnotic vocals.
Beat It:
I love this track. Always have. Therefore, it’s my favourite track from the collection. This is one of the greatest pop songs ever recorded, never mind being Michael’s best. I love how it effortlessly blends genres. You got the aggressiveness of rock over catchy pop.
From the intro, you can feel the tension building, and then the drums come crashing in with power. Michael’s vocals follow the energy of the instrumental. Every lyric lands, and the chorus explodes without warning.
Then we have an exemplary guitar solo by the late, great guitar icon Eddie Van Halen to bring even more joy to the listen. The solo is ferocious, taking the track beyond a generic pop song. Eddie may show off his skills, but it’s right for the track, rather than over the top.
‘Beat It” is just one of those timeless tracks compared to a lot of big hits from the 80s, which now sound dated. ‘Beat It’ still sounds fresh, powerful, and bursting with colour. I love the production, its non-stop rhythm, and of course, his vocals are just…brilliant.
This compilation may be packed with hits from every section of his life until the early 21st century, but ‘Beat It’ is beyond magical.
Wanna Be Startin’ Somethin:
A restless and energetic track that sounds alive.
Human Nature:
You may remember S.W.V sampled this for their single ‘Right Here’? Anyway, this beautiful track feels soft and dreamy while still carrying real emotional depth.
P.Y.T. (Pretty Young Thing):
A bright, playful and pure pop joy song that makes you want to dance.
Thriller:
What a great ending to disc one. The ultimate party song that still sounds huge.
Disc Two:
Bad:
Michael’s confidence and attitude bring colour to the track.
I Just Can’t Stop Loving You:
A tender track, which focuses on Michael’s vocals and melody.
Leave Me Alone:
One for the lyricists.
The Way You Make Me Feel:
A warm, energetic, and easy listening track.
Man in the Mirror:
An emotional track that builds with sheer power, and Michael’s formidable vocal performance.
Dirty Diana:
This track is dark, tense, with a good rock edge and, of course, Michael’s vocal intensity.
Another Part of Me:
Upbeat, lively, and stadium-ready.
Smooth Criminal:
The sounds all fit perfectly. Definitely one of the best-produced pop songs.
Black or White:
A political track, but it isn’t in-your-face and a great guitar riff over a pure energetic production.
Heal the World:
Sincere and honest lyricism with a big sound.
Remember the Time:
A flawless groove that’s often overlooked from his catalogue. You can feel the early 90s all over it.
In the Closet:
Mysterious and hypnotic.
Who Is It:
I love the bassline over the dark and emotional track.
Will You Be There:
A huge emotional impact track that feels big and cinematic.
You Are Not Alone:
Always been a fan of this one since 1995. I still own the cassette of this emotional ballad. Michael captures the mood perfectly with fragile vocals.
Earth Song:
Another track that feels dramatic and cinematic with Michael’s fragile and then powerful vocals.
Blood on the Dance Floor:
Aggressive, sharp and full of nervous energy. Not a bad choice to end the album.
Coda:
I decided to review the European edition, because it’s the version that’s widely available this side of the world. What is great about “The Essential” is that it covers all the stages of Michael’s career, from being a child in the Jackson 5 to a disco star, pop innovator, and international icon.
Do not get me wrong, there are a fuck tonne of classics across both sections, but ‘Beat It’ remains my favourite, you know, the way it blends rock, pop, Eddie’s mesmerising guitar solo, and Michael’s vocals bouncing with the tempo. I always look forward to hearing it.
Song recommendations: ‘Beat It’, ‘Blame It on the Boogie, ‘You Are Not Alone’
“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.
Let’s now address some of the key tracks:
Lemonade:
Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.
Palaces:
My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.
Dark Light:
The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.
Imposter:
This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.
Sunflowers & Lazy (Two tracks):
Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.
Lucid:
The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.
I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.
Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’
A track-by-track review with a bonus track thrown in:
Rocket (feat. Tony Iommi):
This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.
Spies:
The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.
Pretty Face:
Didn’t like it. Too poppy for me.
Bite Your Tongue:
An alternative rock track with spoken word. It may feel odd, but it is playful, adding something different to the album.
Cocky:
Stomping glam-rock energy that’s fun with plenty of swagger.
All My Life:
An Oasis-inspired reflective ballad discussing dreams. Providing one of the more emotional moments on the record.
Human (feat. Jesse & Joy):
Another reflective ballad.
Morrissey:
Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with the former Smiths frontman.
You:
Same attributes as ‘Bite Your Tongue’.
It’s OK Until the Drugs Stop Working:
I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.
Pocket Rocket:
An ethereal and dreamy closer of the standard edition.
G.E.M.B:
I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.
Coda:
“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.
Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’
WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.
Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:
It’s the Most Wonderful Time of the Year:
As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.
XMAS:
I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.
Hot in December:
Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.
At Christmas:
Time for a reflective and tender refrain. Her vocals really sell the story.
Santa Claus Is Coming to Town ft. Frank Sinatra:
I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.
This Time of Year:
Another new track, warm and gentle. Another refrain from the upbeat tempo.
100 Degrees ft Dannii Minogue:
The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks.
Office Party:
Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.
White December:
Melancholic and unmistakably wintry.
Christmas Isn’t Christmas ’Til You Get Here:
An intimate and heartfelt track. Again. Kylie’s vocals shine.
Have Yourself a Merry Little Christmas:
Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.
Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:
More mature
There is no novelty fatigue
Flows better
Showcases more of Kylie’s artistry
Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.
Encore:
What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.
Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’
Everyone has been anticipating the release of “The Life of a Showgirl” to determine if Taylor’s engagement has made her lose her creativity, as she might be less likely to criticise ex-boyfriends. The album promised so much, but what I heard was certainly calmer, yet at the same time, quite underwhelming.
It feels like a step backwards from her previous work, lacking the emotional depth and creative spirit we saw earlier in her career. The title suggests something bright, but the record lacks any energy to be considered “bright”. Instead, what we get is Taylor writing an album for the sake of it.
The opening track is a burst of energy that promises an exciting journey. It’s uptempo, with an infectious bassline, and most importantly, it’s original. The track narrates Taylor’s salvation and her blossoming love with Travis Kelce. However, this energy and originality are not sustained throughout the record.
The subsequent tracks lack the depth and musical creativity that the opening track hinted at. ‘The Fate of Ophelia’, ‘Opalite’ offers a glimmer of something more with its sparkling grooves, but fizzles out.
It becomes quite clear from ‘Father Figure’ and ‘Eldest Daughter’ onwards that the album focuses on her ego rather than her growth as an artist. She tries to portray herself as an underdog on ‘Father Figure’ as she did in her younger days. But it just does not work anymore. Her popularity has soared since those days, so she is far from the “underdog.” As for ‘Eldest Daughter,’ well, I am not convinced; she wanted to write this. She is talking about online culture, but it does not feel genuine; rather, she has been coerced into writing about it.
Then, we have the tone-deaf tracks ‘CANCELLED!’ and ‘Wi$h Li$t’, where she attacks her critics, but the song does not land as well; she lives a privileged lifestyle now.
It does not get better, I’m afraid. ‘Actually Romantic’ takes a vicious swipe at Charli XCX (For the record, I do not like her, either), and then ‘Wood’ lacks the charm and wit to be cheeky pop, which appears to be à la mode. She tries to jump on the bandwagon, but does not offer anything fresh. The lyricism alone shows you that she did not feel comfortable attempting to follow the trend. It just is not her style of writing. Probably another attempt from the people above her trying to control her sound. Corporates should leave the artist to use what suits them.
Unfortunately, the record lacks any insight into the “showgirl” persona that the title suggests. Instead, we have pettiness and tone-deaf affirmations. More of the same, really. Her ego has got in the way of her emotional storytelling, which is still within her soul.
Taylor has the world at her feet, and she had the chance to explore new avenues and push the boundaries, but it feels more like an opportunity to make money. It lacks any artistic flair or emotion. Even her partner in crime, Sabrina Carpenter, could not rescue it. Hopefully, she regains her creative edge on the next album.
Song recommendations: ‘The Fate of Ophelia’, ‘Actually Romantic’
Honest Opinions 