Tag: album

Selena Gomez – Revival Album Review

MarcyB0y2 Comments

860979COZ5bBUwAInslyjpglarge

The transformation of a former Disney star into a mature, credible pop artist was never going to be a walk in the park. Many have tried: Vanessa Hudgens, Miley Cyrus, Hilary Duff (one of the more successful acts who somehow managed to also retain her sanity) with varying results. Attempting to crack the music industry is not a new venture for Selena Gomez; her voyage into the world of pop music has been in full flow since 2009. What is new, however, is her attempt to promote herself as a viable adult artist.

Selena Gomez came to prominence as an actress in the Disney channel series “Wizards of Waverly Place”, appearing in the show until its conclusion in 2012. She then formed her own band, Selena Gomez & the Scene, in the hopes of achieving a successful crossover into music. After releasing three moderately successful albums, Gomez announced the band would be taking a hiatus to focus on other projects. Presumably ‘other projects’ was a euphemism to obscure her desire to be a star in her own right. Début album ‘Stars Dance’ was rapidly released in 2013 to mixed reviews, most of the negative focus placed on the generic production.

‘Revival’ is largely a continuation into maturity for Gomez. The teeny pop anthems have been replaced by pop influenced by bouncy EDM, tropical beach house and an overall far more mature sound. Littered with overt sex references, at times it’s all rather forced as Gomez does everything in her power to dismiss her Disney image and substantiate her new-found maturity.

Overall, however, it works rather nicely. First track “Revival” opens with Gomez reciting a poetic passage prior to the arrival of resilient beats and tropical house synths. It’s a  rather low-key introductory track but one which executes its purpose efficiently. “Hands to Myself” relies on minimal instrumentation, buoyant percussion and Gomez’s supple vocals whilst “Same Old Love” utilises moody piano riffs, hip-hop beats and Gomez’s honeyed vocals. “Sober” is reminiscent of some of Taylor Swift’s best work on ‘1989’, built around fidgety vocal samples, slamming ’80’s-esque percussion and jittering synthesisers. Sultry summer smash ‘Good For You’ maintains its ascendancy, abundant with sensuality, Gomez’s breathy vocals and assistance from A$AP Rocky whilst ‘Me & The Rhythm’ is a tropical-dance pop track built around catchy pop hooks and steel-pan-like sound effects. The album’s sole ballad ‘Camouflage’ is a stunning piano ballad; the album’s best fit for Gomez’s gentle vocals.

The album’s weaker points lie in the final three tracks.  ‘Survivors’ attempts to break into a club-friendly pop sound but falls flat. ‘Body Heat’ utilises Latin rhythmical influences and Spanish guitar strums but lacks character whilst album closer ‘Rise’ is a disarray of electronic elements.

The main flaw with ‘Revival’ is that Gomez fails to stamp her identity on the pop world. Whilst refreshingly avoiding the mainstream 80’s-pop revival currently very much present in the UK Singles chart, there is no innovation or trademark sound that emerges from it.

A step in the right direction but with room for improvement.

Rating: 3/5.

Revival is out now on Interscope/Polydor records.

Carly Rae Jepsen – Emotion Album Review

MarcyB0yLeave a comment

carly-rae-jepsen-ec2b7moc2b7tion-2015-deluxe-1500x1500

The sophomore album is always a challenging feat. Ask any artist and they will affirm that the second album is always the most testing. How do you follow up a successful début album, an introductory statement without recovering old ground or losing your audience altogether? Carly Rae Jepsen launched onto the music scene springier than a space hopper back in 2012 with huge guilty-pleasure ‘Call Me Maybe’ which remained in the charts (and our minds) for what felt like a lifetime. Whilst eventually a vexatious presence it was unarguably a slice of pop perfection and a triumphant launch onto the global music scene. Supporting album ‘Kiss’ was an enjoyable dance-pop album but one which failed to capture the enchantment ‘Call Me Maybe’ contained. Nevertheless, it was a commercial and critical success and one which secured Jepsen as the latest pop princess.

‘Emotion’ largely follows the same formula as ‘Kiss’; the focus is placed upon alluring hooks and uptempo dance-pop tracks which document escapades of puppy love. The primary difference however, is that Jepsen’s new material contains far greater substance. As is the latest trend, ‘Emotion’ draws heavily on 1980’s synthpop, Sia Furler’s writing credentials and a team of Swedish pop writers to formulate the perfect pop album. What ‘Emotion’ may lack in individuality, however, it makes up for in spirit and conviviality. Every track is meticulously programmed by some of pop music’s biggest producers (Greg Kurstin, Mattman and Robin and Shellback to name but a few) whilst Jepsen’s breathy and sultry vocals drift sedately atop. Every effect imaginable is tossed into the concoction – distortion, autotune, excessive reverb – but every ounce of effort is worthwhile; Jepsen has delivered an effervescent album abundant with catchy guitar riffs, breezy sound effects, and irresistible pop melodies.

Album opener ‘Run Away With Me’ is a model of things yet to come, plastered with detuned saxophone riffs, tight production, shuffling percussion, repetition and infectious melodies.  It’s a fitting introduction; another teeny-bopper but its taut production gives it far greater substantiality. Lead single ‘I Really Like You’ remains as charming as on first listen whilst funky ‘Emotion’ comes dangerously close to becoming a direct rip-off of Haim’s ‘If I Could Change Your Mind’.

As is the case on all contemporary pop albums, Sia Furler is enlisted as songwriter on two tracks. The first, ‘Boy Problems’ is a fizzy affair, carrying levels of buoyancy Nile Rodgers would be proud of as Jepsen boasts that she ‘broke up with my boyfriend today and I don’t really care’. It shamelessly enters teeny-bopper territory again and is rife with sneering teenage girl ‘nah nah nah nah nah’s’. ‘Making The Most of the Night’ is a slightly darker effort in a similar vein to Sia’s own material, built around a tribal-influenced rhythm. Both tracks form just a handful of the album’s high points.

The 1975-esque ‘Let’s Get Lost’ is another of the album’s highlights, utilising funky guitar riffs, clinking synthesisers, and a feral saxophone appearance. Breezy harmonies are gorgeously layered, evolving into an exceptionally melodious chorus. It’s more infectious than than anything Jepsen has produced prior to this album and is crying out for a single release.

Elsewhere, ‘Emotion’ attempts to strike forward with a little more ferocity and variation. ‘LA Hallucinations’ explores hip-hop in a similar fashion to Taylor Swift’s ‘Bad Blood’ whilst ‘Warm Blood’ uses stomping percussion and fuzzy bass lines to great effect. Finale ‘When I Need You’, the most 1980’s influenced track by far with spaced percussion and shimmering bells could have easily been featured on the soundtrack to a classic ’80’s movie, following a similar suit to ‘I’ve Had The Time of My Life’.

In an album so sharply focussed on tight production and frolicking with various effects, the Mattman and Robin produced ‘Gimmie Love’ adopts a more simplistic touch through utilising Jepsen’s angelic vocals beautifully over minimalistic over reverberated percussion and metallic guitar riffs. Then there is sole conventional ballad ‘All That’ – a slow schmaltzy number rife with twinkling keys and giggling synthesisers, lavishly drizzled with Jepsen’s syrupy sweet vocals. The end of the middle eight hits a colossal climax which completes the track nicely.

Whilst Jepsen doesn’t necessarily demonstrate the greatest vocal range, this is greatly compensated for by the compelling melodies that stick in the mind long after the album’s final track. Every track is solid enough to be a single and this engenders a flawless album of pop gold.

‘Emotion’ is a glitzy album bursting with vibrancy; forty five minutes in which the listener is permitted to re-enter the comfort of a convivial, juvenile world free of the stresses of life. A perfect pop album.

Rating: 5/5.

‘Emotion’ is out now on Interscope/School Boy Records.

The Weeknd – Beauty Behind the Madness Album Review

MarcyB0yLeave a comment

“Go tell your friends about it”, Canadian artist Abel Tesfaye croons on track three of latest album ‘Beauty Behind the Madness’. Indeed, it’s an album which boasts amorality, self-absorption and an insensate panorama of life. It is not the first of Tesfaye’s works; this is his second album and fifth collection of songs following three mix tapes and début album ‘Kiss Land’. But whilst ‘Kiss Land’ was a moderate success, it is latest offering ‘Beauty Behind the Madness’ that has captured the public’s attention. Largely propelled by huge single ‘Earned It’, certified platinum in the United Kingdom and best known for being featured in this years Fifty Shades of Grey movie, The Weeknd is fastly becoming the latest R&B sensation to hit the commercial music scene.

‘Beauty Behind the Madness’ adopts a nothing-to-hide approach, presenting themes such as no-strings-attached sex, drug usage, self destruction, the pursuit of fame and disloyal women amongst an eclectic amalgamation of thumping hip-hop beats, shiny brass instruments, syrupy-rich layered harmonies, funky bass lines and weeping guitars. It is a descent into melancholic psychedelia but one which thankfully avoids over-saturation through clever production and an assortment of genres.

Much of the album is an 80’s impelled anthology. ‘Real Life’ opens with irate synthesisers and crashing beats whilst ‘Losers’, a duet with Labrinth, utilises the piano in a similar fashion to Kanye West’s ‘Heartless’. Much of the album continues in the same way; eerie reverberations, clever production and Tesfaye’s angelic vocals smother symphonic scores. ‘As You Are’ borrows ’80’s gated pummelled percussion and clinking synthesisers with more reverberation than the dark side itself. It’s one of the album’s triumphant successes, however; a theatrical sound-scape in which Tesfaye vows to take his lover as they are, scars and all. ‘In The Night’ utilises a shuffle rhythm, growling bass and an irresistibly catchy melody.

Other moments slant heavily into hip-hop territory; ‘Often’ is comprised of a mesh of shrill sound-effects and Tesfaye’s salacious admission of doing it ‘often’. Lead single ‘The Hills’ is a song with instrumentation so precarious, it is a direct reflection of its lyrical content; a narrative about a plummeting sexual relationship. One of the more successful hip-hop tracks is ‘Tell Your Friends’ – a song so rife with hubris, Kanye West would be envious. It comes as no surprise, then, that Mr West himself is responsible for the production of this gentle R&B jam. Fluttering synthesisers and jazzy staccato piano chords make this track reminiscent of West’s ‘808’s and Heartbreak’ album. Whilst the album’s abundance of remarks such as ‘these b*****s’, these ‘n*****s’ and comments upon genitalia don’t come as a surprise, they are not the most fitting complement to Tesfaye’s innocent falsetto whispers. At times the contrast between the two becomes a little unnerving.

Thankfully, the sullen nature of the album is broken up by the odd injection of pop; the primary method Tesfaye has captured the public’s attention is through the selection of radio-friendly singles. Bleak waltz-ballad ‘Earned It’ known for its inclusion in the Fifty Shades of Grey movie is still captivating with its dramatic orchestration and sacharine sweet vocals. It is still as fierce as it was upon release. Still, even the pop moments disguise darker undertones; latest single ‘I Can’t Feel My Face’ is an ode to Tesfaye’s love of sex and cocaine, cleverly obscured by its radio-friendly pop sound. Co-written by songwriting genius Max Martin (the mastermind behind hits by Britney Spears, The Backstreet Boys and Katy Perry amongst countless others), Tesfaye does his best imitation of the King of Pop, drizzling his falsetto-ridden vocals over a funky bass line and tight percussion. It’s catchy, slick and pop music at its best. ‘Who’s gonna f*** you like me?” Tesfaye pines on saturnine acoustic guitar ballad ‘Shameless’. It’s another of the more pop-py moments on the album but one which works beautifully, complete with a warped guitar solo.

Tesfaye depends greatly on mainstream pop individuals on this album, enlisting Ed Sheeran, Lana Del Ray, Labrinth and Kanye West to name a few. ‘Dark Times’, a collaboration with Sheeran is a sulky waltz-like track in the same vein as ‘Earned It’ whilst the Lana Del Ray duet never quite reaches the heights it could. Nevertheless, the collaborations have resulted in an enthralling assortment of tracks.

It’s a dark, moody, seductive and powerful album, an innovative addition to the music industry.

Rating: 5/5.

‘Beauty Behind the Madness’ is out now on XO-Rebulic Records.

Jess Glynne – I Cry When I Laugh Album Review

MarcyB0yLeave a comment

A1C7qRrVACL._SL1500_

It feels as though no week in the past year has witnessed Jess Glynne absent from the UK singles chart. She has quite literally been everywhere, showcasing her rich soulful vocals with a multitude of friends in the industry; Clean Bandit, Room 94, Tinie Tempah and now, on the album, Emeli Sande. Indeed, it is likely Sande is responsible for Glynne’s never-faltering presence in the music industry; she too once was everywhere. Glynne should be cautious – Sande’s current absence from the industry lead to a sigh of relief from most of the general public who needed to recuperate from Sande’s over exposure (we’ve heard quite enough of ‘Read All About It’, thank you very much).

Those in camp Glynne have certainly been exceptionally savvy in generating a buzz for the album; the build up to its release has taken well over a year, beginning with the release of quirky ‘Rather Be’ with Clean Bandit last year. Since then, Glynne has taken a musical apprenticeship with a range of music industry acts, scoring five UK Number One and two top ten singles. Unfortunately, the album itself is a mixed bag of successes and weaknesses.

Musically, ‘I Cry When I Laugh’ is a joyous affair, full of bouncy house tracks, R&B jams and funky soul numbers. It’s all very 90’s. Glynne’s inability to strip any of the tracks of hand-claps makes it all rather uplifting and soul-stirring; at times the listener might question if they are listening to an album or attending a church service. Lyrically, however, the album tells an alternative story. Much of the album’s material discusses heartbreak or unstable relationships. The contrast between lyrical and musical content is one of the album’s strengths, a refreshing take on a heartbreak album.

The album utilises a range of genres, the main being R&B. Pleasant album opener ‘Strawberry Fields’ (not of any relevance to the track by The Beatles) is a leisurely R&B jam which signifies what’s yet to come. ‘Gave Me Something’ follows suit with house-styled piano riffs and catchy hip-hop beats layered with hand claps. ‘Ain’t Got Too Far To Go’ on the other hand, is a fun pop track with squeaky violins and honky-tonk piano chords, hip hop beats, football chants and gospel-influenced harmony layers. ‘Why Me’ continues the R&B thread, featuring Boyz II Men-esque backing vocals, although this is bought up-to-date with its unsettled dub-step percussion. The influence of Prince is conspicuous on ‘You Can Find Me’, one of the album’s stand-out tracks featuring giggling synthesisers, the return of gospel session singers, slamming beats and funky bass riffs. It’s a ‘Raspberry Beret’ for the modern generation.

Elsewhere, the album remains loyal to Glynne’s signature dance-pop/house sound she became famous for. Singles ‘Don’t Be So Hard On Yourself’, Huge dance smash ‘Hold My Hand’ (still an enjoyable listen), ‘Real Love’ (a victim of exposure) and ‘Right Here’ are all powerful, catchy dance hits that have become radio airplay staples. Disappointingly, other hits ‘Rather Be’, ‘My Love’ and huge summer banger ‘No Letting Go’ are reduced to bonus tracks, a cheap marketing technique to encourage fans to invest more money and purchase the deluxe version of the album.

The main issue with the album is it avoids providing much scope. Only two ballads are present, ‘Take Me Home’ and ‘Saddest Vanilla’, a duet with Emeli Sande. Both are pleasant enough but avoid any real emotional depth. The album’s up-tempo, in-your-face nature, whilst an admirable approach, becomes a little intense, monotonous and excessive half-way through and cries out for more variety. The album therefore works more effectively in small doses than as a full album listening experience. The over-exposure of most of the singles also mean these all fall rather flat, bogging the album down.

‘I Cry When I Laugh’ tries painfully hard to impress and in places it does. It’s all a lot of fun, tinged with elements of gospel music and 90’s house, it’s just all a little intense as a whole and becomes somewhat intolerable as a complete album. Nevertheless, its bold and optimistic ambience is to be admired. What it lacks in scope it makes up for in spirit.

Rating: 3/5.

‘I Cry When I Laugh’ is out now on Atlantic records.

Carly Rae Jepsen – Understated and Underrated Pop Princess.

MarcyB0yLeave a comment


11986857-standard

The rise of Carly Rae Jepsen has been somewhat remarkable. The Canadian sweetheart first came to prominence on Canadian Idol back in 2007, finishing a respectable third. Of course over the years, the Pop Idol has become largely overshadowed by Simon Cowell’s replacement international franchise X Factor which currently runs in thirty four countries over the world. Despite this, the ‘Idol’ franchise continues to run in some countries simultaneously. Whilst such programmes often produce successful acts, they rarely become superstars in anywhere else but their home country (though Leona Lewis & Kelly Clarkson have both proved to be an exception to the norm.) So when Rae-Jepsen placed third in 2007’s Canadian Idol, chances of worldwide success appeared slim. After all, when has a winner of Canadian Idol ever become the next big thing over here in the UK? Exactly. But somehow, gentle and unassuming Carly cracked the big time.

carly 3As is often the case, success was not immediate; début album ‘Tug of War’ was released on a tiny independent label with no mainstream release until three years later when she began working on her follow-up album. It was the writing of one song that changed everything. That song is of course ‘Call Me Maybe’. Perhaps somewhat surprisingly, ‘Call Me Maybe’ was written by Jepsen with Tavish Crowe as a folk song until Josh Ramsay transformed it into a teen dance-pop track. The song’s eventual success was largely the responsibility of Justin Bieber who tweeted the song to his millions of Twitter followers before increasing its popularity even further a month later when appearing in a viral video in which he lip-synced the track along with Selena Gomez and Ashley Tisdale. Perhaps this isn’t surprising when Bieber himself is considered a teen-bopper by many and isn’t exactly swimming in credibility. Nevertheless, Bieber’s assistance resulted in the snowball effect in which the song was picked up by radio stations and music channels worldwide, on heavy rotation which resulted in it becoming a Number One hit in eighteen countries; an impressive feat. It was nominated for two grammy awards and won MTV’s ‘Song of the Year’ award in 2012. Rae-Jepsen’s grip on the world was only reinforced later that same year upon the release of her second album ‘Kiss’, released to overall positive response.

This year, Jepsen returned triumphantly with the exceptionally catchy ‘I Really Like You’, accompanied by a comical music video starring Tom Hanks. It became another hit in Jepsen’s back catalogue and follow up ‘Run Away With Me’ has also been soaring high into the music charts in multiple countries. Both singles, whilst remaining faithful to Jepsen’s signature pop-sound, have hinted at a more 1980’s synthpop sound, adding an extra layer of depth. No wonder then, that forthcoming album ‘E-M-O-T-I-O-N’ (released in the UK on the 18th of September) is one of the most highly anticipated albums of the year. The pop world is all about 1980’s synth/electro-pop so the release of ‘E-M-O-T-I-O-N’ has been impeccably timed.
carlyraejepsen5Whilst Jepsen’s commercial performance has been hugely successful, she remains a greatly overshadowed artist in the fickle world of pop music. In an industry that increasingly objectifies women and removes the focus from vocal and artistry talent, placing it on personality, controversy and appearance, many women become lost in the haze of the music industry. Rhianna, Beyonce and Taylor Swift tend to dominate for their colourful personal lives and vibrant fashion sense. Indeed, they each also have extensive collections of hits and are largely talented but the emphasis is equally placed on matters other than the music. It is somewhat refreshing then, that Rae Jepsen seemingly avoids association with controversy is also refreshing in an age where disputation is the main attraction in pop careers. No matter the opinion of the most cynical music fans, her talent to write catchy and memorable pop hits cannot be denied. ‘Call Me Maybe’ undoubtedly became bloody irritating after a few weeks but it remains one of the best hits in Pop History. Furthermore, her sultry, squeaky and quirky vocals make her refreshing to listen to in an industry dominated by auto-tune and instinctive vocals.

The longevity of a pop career can never be guaranteed in a rapidly changing industry. Nevertheless, if her musical output remains as strong as is currently the case, understated and underrated pop princess Carly Rae Jepsen can expect a very long and fruitful music career.

8b2538984230c17e71c0b3defd0055bf.600x600x1

Mika – No Place in Heaven Album Review

MarcyB0y4 Comments

cover600x600

Any mention of Mika usually results in association with his smash début single ‘Grace Kelly’. It’s hard to believe that it’s been eight years since ‘Grace Kelly’ topped the chart in the UK and multiple other countries around the world. Certainly, accompanying album, ‘Life in Cartoon Motion’ was also a huge success, spawning four top ten singles. Follow up album ‘The Boy Who Knew Too Much’ was also a success but lead single ‘We are Golden’ was its only real triumph with follow up singles bombing outside of the Top 40. 2012 saw the release of ‘The Origin of Love’, an imperceptible musical departure from previous albums but one which did signify greater maturity. The album limped into 24 in the UK album chart, hugely disappointing for an album worthy of a far better reception.

Spring forward to June 2015 and there was the surprise arrival of Mika’s latest offering, ‘No Place in Heaven’ which seemingly appeared out of no-where. Perhaps Team Mika should invest more on promotion and generating the buzz that first surrounded Mika at the beginnings of his career. Still, it has so far fared at least a little better than ‘The Origin of Love, peaking at number nineteen in the UK album chart.

‘No Place in Heaven’ is an archetypal Mika album, drizzled in camp abundance, littered with falsetto easy sing-along melodies, an over dependency on the bashing of piano keys, foot stomping percussion and containing more fun than a barrel of monkeys. It’s a return to the immaturity and simplicity of Mika’s first two albums, perhaps in a desperate attempt to regain some of his seemingly fading commercial magic. It’s an irresistibly catchy album full of well-written hooks, organic instruments and a strong vocal delivery from Mika as always; his extensive vocal range is certainly to be admired.

Album opener ‘Talk About You’ begins with a buzzing bass line before launching into a bouncy, buoyant pop-track with an irresistible melody. ‘All She Wants’ maintains the party atmosphere with ‘Mickey’-esque cheerleader hand claps, rich and layered harmonies and a rousing chorus. The album briefly visits the 1960’s with the springy and flamboyant ‘Oh Girl You’re The Devil’ whilst it all goes a bit Fleetwood Mac on ‘Rio’ It’s the up-tempo tracks which are most effective on this album; the ballads remove the fizz and energy of the album aside from the lovely ‘Good Guys’.

It feels like Mika is having a whale of a time and rightly so. He’s delivered a fine album, a master-class in song-writing as always and more than proves his worth. It’s not quite as robust as ‘Life in Cartoon Motion’ or as consistent as ‘The Origin of Love’ but it’s an admirable pop album which proves our UK artists are still something to be very much proud of.

Rating: 4/5.

‘No Place in Heaven’ is available now on Casablanca records.

Years & Years – Communion Album Review

MarcyB0yLeave a comment

Years-Years-Communion

2015 has certainly been Years & Years’ well, year… The British electronica trio have witnessed two singles reach the top 3 (one reaching the Number One spot and the other soaring straight into Number Two, respectively), a number one album and a slot at this year’s Glastonbury festival.

Debut album ‘Communion’ is a pleasant, beguiling affair; a fusion of synth-pop, electronica and house music. Abundant with festival ready hooks, dreamy synths, squeaky bass lines and front man Olly Alexander’s wailing vocals, it differs from usual synth-pop band albums in that it avoids separating the edge usually associated with this genre and heartfelt music. It makes use of punchy backing tracks and lyrics bursting with sincerity, resulting in a mixed affair of successes and failures.

The album’s main successes are its most successful singles, the ever-endearing ‘King’ and detuned ‘Shine’ in addition to its ballads. Gentle synth-pop ballad ‘Eyes Shut’ utilises elements of gospel music, complete with jumpy piano chord changes and finger click percussion. ‘Without’ is a saccharine synth-pop moment but it works whilst closing track ‘Memo’ is heartbreakingly beautiful. There are other triumphs – ‘Worship’ is a genuine highlight with its dirty, punchy percussion and gospel-induced synths whilst second track ‘Real’ (which should have been the opening track instead of the dreary and uninviting ‘Foundation’) is memorable with its squeaky bass lines and stamping percussion.

Whilst it may challenge the norm associated with the synth-pop genre, it’s hardly innovative. The album’s main issue is that the more up-tempo tracks lack diversity and therefore become instantly forgettable. Moreover, whilst Alexander’s voice certainly transmits an enchanting vulnerability and uniqueness, there is the possibility this may not hold up quite as strongly live, free of the highly cherished auto-tune.

Nevertheless, the album contains enough charm to just about compensate for these teething problems. It is an enjoyable listen and serves as a fitting introduction to the band. Its utilisation of a range of genres is a charming device but this could be exploited much further.

It’s perhaps best to consider Years and Years as a work in progress but they are certainly one to watch.

Rating: 3/5.

‘Communion’ is available now on Polydor/Universal records.

Simply Red – Big Love Album Review

MarcyB0yLeave a comment

bl4x

It’s been five years since Mick Hucknall disbanded Simply Red following an extensive farewell tour and greatest hits album. Fans were under the impression that this was the last we’d see of Simply Red as Hucknall expressed a desire to spend more time with his family and release material under his own name. But now, Simply Red have returned with an album and tour to celebrate thirty years since their formation.

It was always rather peculiar, Hucknall’s decision to continue recording music under his own name rather than the Simply Red label. Simply Red, after-all, is Mick Hucknall. The band is well-known for its revolving-door policy regarding band members; there has not been an original member (aside from Hucknall of course) in the band since 1995’s ‘Life’ album. This appears to have finally dawned upon Hucknall and the band’s 30th anniversary has seen him go to great lengths to celebrate the band’s long and hugely successful career.

And “Big Love” is just that. A celebration. A celebration of love and life. It’s a concept album relating to family and love which is part of its overall success. It’s an optimistic, uplifting album; a real joy to listen to. It’s obvious Hucknall has seen a surge in creativity and inspiration for this album; it’s the first album of all original material since 1995’s ‘Life’ album. Family life has evidently tamed the former wild sex-crazed front-man.

The album utilises up-tempo, catchy tracks to maintain its pace. Lead single “Shine On” is a big, fun track with funk-driven guitars and punchy percussion – a true reflection of the album as a whole. “Daydreaming” is a catchy ’70’s disco-infused number on which Hucknall’s glossy vocals really shine whilst the album ventures into a soft rather bizarre rock ‘n’ roll-gospel infusion on “Tight Tones”.

Elsewhere, “Big Love” demonstrates Hucknall’s softer side. The title track is a schmaltz-y affair, with a sweeping melody, gentle vocals and fairground piano arpeggios. “Dad” is a syrupy sweet ballad about… yes, you’ve got it, Hucknall’s father. It’s rather saccharine, with a lovely message but the lyrics themselves are a little bit ‘teen’ with some lazy rhymes. Nevertheless, it’s a poignant addition to the album following the loss of his father during Simply Red’s absence. The album also makes use of previously successful formulas for the band. There’s a throwback to ‘Night Nurse’ on ‘Love Wonders’ with its reggae-styled beat, sweeping strings and Hucknall’s butterscotch vocals. There’s also a nod back to 2003’s ‘Home’ album on ‘Love Gave Me More’ with its tinkling piano and 60’s sweeping strings.

From time to time, hitting notes requires some strain from Hucknall and it’s evident his wild past has caught up with him slightly. Nevertheless he has always had one of the most powerful voices in the industry, soft and syrupy for the ballads, a growling rasp for more uptempo songs and an incredible vocal range that would make most of today’s acts envious.

Whilst it may lack the polished finish of 2003’s ‘Home’ and the power of 1991’s ‘Stars’, it is far from a bad album. It seems Hucknall has got his mojo back. I for one hope it stays.

Rating: 3/5.

“Big Love” is available now on East West Records.

Circa Waves – Young Chasers Album Review

MarcyB0yLeave a comment

CW_YCA_SLEEVE-1024x1024Every now and then, the release of a new album affirms the UK’s continuing affection of the indie scene. Liverpool’s Circa Waves are the latest act to do just this with their début album ‘Young Chasers’. It’s fun, it’s uplifting and a great album, one which will no doubt be the sound blaring from many teenagers’ tinny, portable speakers at the park this summer. A throwback to the indie scene a decade ago, it’s influenced by Arctic Monkeys, Razorlight and the Libertines; an album of youth, enthralling love and boozy Friday nights. Whilst most of the album documents the vertiginous, infinite moments of adolescence, occasionally, frontman Kieran Shudall’s contemplations capture the transition from adolescence to adulthood, professing trepidations such as “I’m a little too young with not enough time”. Refreshingly, producer Dan Grech-Marguerat avoids frolicking around with computer generated sounds and instead focusses on the recording of the band itself, their two guitars, bass and drums.

Part of the album’s success lies in its length. ‘Young Chasers’ avoids being presumptuous and clocks in at forty minutes in length with many of the tracks being just two minutes long. This keeps the album succinct in nature and avoids becoming monotonous.

What ‘Young Chasers’ lacks in innovation, it makes up for in charm and charisma. It’s a fun, festival fuelled album and a very enjoyable listen.

Rating: 4/5.

“Young Chasers” is available now on Universal/Virgin EMI.

 

Music Monday – Volume Forty Six

MarcyB0yLeave a comment

1) Simply Red – Say You Love Me

One of their best yet most underrated songs. Mick Hucknall is a musical genius. Gorgeous ballad from the fantastic ‘Blue’ album with soulful vocals, soft guitar strums and predominant piano chords throughout.

2) Simply Red – To be free

A great feel-good song also from the 1998 ‘Blue’ album. Great song with thoughtful lyrics.

3) Simply Red – You’ve Got It

Love, love, LOVE this song. Another underrated single by the band, this time from 1989’s ‘A New Flame Album’. Co-written with legendary soul writer Lamont Dozier, this soulful ballad has the same feel as his songs written in the ’60’s but with Simply Red’s 80’s sound blended in. Mick Hucknall and Lamont Dozier was a winning combination. Mick Hucknall’s stunning vocals really shine on this track. Love the interesting chords too.

4) Simply Red – Your Eyes

Yep, I’ve been having a Simply Red week… 1999’s ‘Love and the Russian Winter’ was more or less a commercial failure, a shame when it’s such an adventurous and fantastic album. It’s my favourite Simply Red album infused with a more computerised/electro sound. ‘Your Eyes’ was the lead single. A smooth R&B/Pop love song, it’s an awesome song. Mick Hucknall sure knows how to write a great love song. Should have faired much better in the charts.

5) Taylor Swift – Style

One of her best singles to date, I’ve loved this since the release of her ‘1989’ album and am so glad she’s released this as a single. Catchy with great production and fantastic Swifty lyrics, it’s awesome.

6) One Direction – You & I

Months later and the departure of Zayn Malik made me return to my obsession with this song. I love the lyrics, I love the vocal performance of each of the boys but most of all, I love how the song builds. Particularly in the single version, percussion doesn’t enter the song until after the first chorus and the song ends in a mesmerising climax after the second chorus in which wailing guitars, heavy drums and Zayn Malik’s gorgeous falsetto kick in. Beautiful song.

7) Michael Jackson – Ghosts

A catchy new jack swing number from 1999’s ‘Blood on the Dancefloor’ album, the paranoia in the lyrics and that crazy drum beat makes it an awesome song.

8) John Mayer – In Repair

A rather long but great song from John’s 2005 ‘Continuum’ album, I love this. Lyrically, it’s about being in a state of repair – getting back to being yourself again, something I am more than able to relate to.

9) Annie Lennox – No More I Love You’s

A song originally by 80’s New Wave group ‘The Lover Speaks’, covered by Annie Lennox on her second solo album ‘Medusa’. The original is a dark indie song but Lennox truly made the song what it is. Her pop version released in 1995 became a massive hit and added an extra depth missing from the original. Her vocal performance is incredible (as always), Stephen Lipson’s production is on point and it’s just a beautiful song, one of my all time favourites.

10) Favela – Easy Yoke

A song I found on a Spotify playlist last year that I rediscovered recently. Love the chords, love the chilled-out vibe of this and the meaningful lyrics. It’s a shame this song isn’t known by more because it’s beautiful and catchy at the same time.