Paul McCartney isn’t aiming to change the music world at 83 on this album. “The Boys of Dungeon Lane” is purely about nostalgia, focusing on his childhood, old friends, and the places that had an impression on him. The record is melodic, warm, light, jaunty, and maintains Paul’s identity. It isn’t about trying to emulate albums such as “Band on the Run”; it’s more personal than anything he’s done in years.
As You Lie There :
The opener is a soft track inspired by a mysterious guitar chord that he discovered when working with Andrew Watt. It has a reflective yet dreamy feel that sets the mood for the album. If anything, it’s more thoughtful than a memorable opener.
Lost Horizon :
Unfortunately, it’s one of the weaker tracks. The melody is pleasant, though. It feels like this one was added in haste rather than completed.
Days We Left Behind :
An emotional ode to Liverpool. Paul visits the city, his childhood friends, and life before fame. The melody is quintessentially Paul: elegant, wistful, and instantly familiar.
Ripples in a Pond :
This feels like a lost Wings track. Subliminal arrangement, and charming, but it doesn’t make an impression on you.
Mountain Top :
An adventurous, playful, and psychedelic song that gives the album energy. A welcome surprise from Paul.
Down South :
An ode to the late George Harrison that doesn’t get too sentimental. The lyricism is about travelling down the M1, talking to George. A short one, but the lyrics tell a great story.
We Two:
This is an enigma. It could be Paul discussing friendship, love or maybe both. Simplistic songwriting, which Paul excels at.
Come Inside:
Another weak song. Lacking a strong hook.
Never Know :
An underrated song. The melody takes a few listens to get it. On that, it’ll grow on you.
Home to Us :
Paul teams up with his old pal and Beatle drummer Ringo Starr. I am convinced it is just one long chorus, but it’s warm and nostalgic nonetheless.
Life Can Be Hard:
One of the album’s more honest songs. Paul addresses life’s challenges and ageing without making it too grim.
First Star of the Night:
A wonderful ballad with the trademark McCartney melody reflecting his career in the 70s.
Salesman Saint :
A quirky, eccentric, playful, jazz-inspired track.
Momma Gets By :
Paul discusses family and resilience. It may be emotional but not too sentimental, and it doesn’t bring down your mood. Instead, you feel grateful.
Outro:
“The Boys of Dungeon Lane” is unapologetically nostalgic. Paul isn’t trying to do anything groundbreaking. He is just sharing his past with us. The songs, as I mentioned in the intro, are warm, light, and jaunty. If you want to find tracks with emotional weight, then I suggest ‘Days We Left Behind’, ‘Home to Us’, ‘Down South’, and ‘Momma Gets By’.
The theme and sound don’t matter a jot to his loyal fans, and that’s all that matters.
Song recommendations: ‘Days We Left Behind’, ‘As You Lie There’, ‘Never know’
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’
Honest Opinions 