Tag: music blog

Music Monday – Volume Sixty Seven

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1) Take That – We Love to Entertain You

Electrifying and rousing stadium anthem that somehow managed to escape inclusion on an album. Whilst it did appear as a b-side to massive hit ‘Shine’ and was used in a German commercial, it was worthy of far more attention and credit. It’s a fitting tribute to fans; a sort of predecessor to ‘Hold Up A Light’, ‘Portrait’ and ‘I Like It’.

2) Beyonce – Love on Top

Funky and soulful R&B track; unbelievably catchy with an infectious melody and bouncy percussion. Highly influenced by 70’s disco tracks by Stevie Wonder and The Jackson Five, Beyonce braves FOUR key changes and blasts her powerhouse vocal effortlessly. One of her best.

3) Taylor Swift – Wildest Dreams

Miss Swift proves once again she is currently the biggest female Popstar in the world. Clearly influenced by the moody and breathy production Lana Del Ray is famous for, the chorus is unmistakeably Swift and the melody isn’t far removed from her signature Country-sound. A lovely track full of emotion, crashing beats and 80’s-esque synthesisers. Irresistible.

4) The Japanese House – Clean

Elusive and enigmatic act Amber Bain (better known as The Japanese House) released another enchanting track earlier this week, once again produced by Matty and George from The 1975. Full of twinkling bells, fizzy synths, distorted brass instruments and unsteady percussion, it’s beautifully endearing and cinematic.

5) Tame Impala – Yes I’m Changing

Aesthetic, downbeat and dreamy, this is another lovely moment from Tame Impala’s latest album ‘Currents’. Evidently influenced by ’80’s synthpop, it has a great bassline and hazy vocals.

6) Oasis – Half the World Away

Lovely acoustic ballad written and sang by Noel. Whilst never released on a studio album or as a single, this became well known for being used as the theme tune to the BBC Sitcom ‘The Royle Family’. It has also since been featured on two Oasis compilation albums.

7) The Blue Nile – Everybody Else

Whilst not the most recognised of bands, Glaswegian adult-alternative band The Blue Nile have received much critical acclaim and have gained a cult following over the years. They purposely never chased fame and are notable for their perfectionist approach to releasing music, releasing only four albums in a thirty four year career.

‘Everybody Else’ is a beautifully simplistic  track featuring only a strumming guitar, computerised percussion, sweeping synthesisers and Paul Buchannan’s melancholic but sincere vocals. It is the penultimate track on their final album to date, 2004’s ‘High’.

8) Kylie Minogue, Garibay and Shaggy – Black and White

Miss Minogue is back on form with this sultry and sensual club banger, produced by Fernando Garibay and featuring a rap by legendary Shaggy. It is a return to Kylie’s club roots after previous album ‘Kiss Me Once’ was a more R&B-led affair and was only a moderate success commercially.

9) Lawson – Love Is You

Lovely acoustic-based ballad by Lawson, released as a free download on their website just days ago. Andy Brown’s voice is sincere as always and the chorus is very pretty.

10) Duran Duran – Ordinary World

One of Duran Duran’s biggest hits, ‘Ordinary World’ launched the band back into the charts after a period of declining popularity in the early 1990’s. Written about front-man Simon Le Bon’s late friend David Miles, this became a huge hit around the world in December 1992. Emotive, powerful and dramatic, it is one of Duran Duran’s best works.

The Weeknd – Beauty Behind the Madness Album Review

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“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.

Music Monday – Volume Sixty Six

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1)Tamzin Archer – Sleeping Satellite

Moody 90’s pop track with lovely lyrics and an incredible vocal performance by Tamzin Archer.

2) Des’ree – You Gotta Be

Self empowering, sunny  pop-soul track bound to leave a smile on the listener’s face. Featuring a tinny keyboard sound and R&B percussion, it is SO 90’s but with a lovely message.

3) Kate Bush – This Woman’s Work

Stunning piano ballad by Kate Bush, written for the John Hughes movie ‘She’s Having a baby’. Featured in the film’s dramatic climax, it’s a fitting accompaniment to the emotional scenes but is just as beautiful as a stand-alone song.

4) Maxwell – This Woman’s Work

This may be the first time Music Monday has included two different versions of the same song in the same playlist but this had to be done. The original, as previously mentioned, is a beautiful piano ballad by the ever-elusive but incredibly talented Miss Kate Bush. Maxwell, known for his slick falsetto vocals gives this an R&B makeover complete with a twinkling harp, weeping guitars and R&B percussion. It’s a gorgeous interpretation of a lovely song.

5) Joe Jonas – Levels

Joe Jonas has certainly reinvented himself from the cheesy teen-rock he produced with his brothers and is fast becoming the latest pop-prince in the music world. The bar was set high by Jonas’ debut single ‘Jealous’, a huge pop hit which charted well around the world. ‘Levels’ is just as good, however; if not, better. Incredible falsetto vocals and funky production carry this catchy track.

6) The Weeknd – Shameless

Moody Ed Sheeran-esque ballad with gorgeous falsetto vocals by Abel Tesfaye, better known as The Weeknd. Obsessed with this right now.

7) The Weeknd – Tell Your Friends

Soul-infused R&B jam from The Weeknd’s latest album ‘Beauty Behind the Madness’. Produced by Kanye West, it’s much in the same vein as some of West’s early material.

8) Oh Atoms – Sugar Mouse

Pretty and gentle little folk ballad featured in cult favourite ‘Angus, Thongs and Perfect Snogging’. Gorgeous harmonies too.

9) Robbie Williams – The Road to Mandalay

One of Mr Williams’ most underrated works and one of his best lyrically. Genius, poetic lyrics crooned over gentle guitar strums and a gorgeous French melody leading the chorus. Simple but beautiful.

10) Michael Ball – Love Changes Everything

A very personal choice by myself as this was played at a funeral I attended last week. Beautiful song composed by theatre guru Andrew Lloyd Webber for his musical ‘Aspects of Love’ and sang flawlessly by Michael Ball.

Music Monday – Volume Sixty Five

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‘Music Monday’ is a weekly blog in which I compile a list of ten songs I have been enjoying in the past week. This edition features Robbie Williams, The Weeknd, Kings of Leon amongst others.

1) JoJo – Save My Soul

JoJo is best known for 2005 smash R&B hit ‘Leave (Get Out)’, released when she was just fifteen years old. Since then, she took a hiatus and returned a five years ago but with limited success. ‘Save My Soul’ is a powerful and emotive ballad from her latest EP ‘III’ with a soaring melody, crashing percussion and haunting piano chords. Stunning.

2) Tove Lo – Talking Body

Sensual and seductive synthpop song by Swedish recording artist Tove Lo. A fine pop track; catchy with an easy sing-along chorus.

3) Steve Angello – Wasted Love

Epic dance track with the Coldplay-esque euphoria. Dougy, lead singer of The Temper Track lends his vocals to this powerful and uplifting song.

4) Daniel Bedingfield – Never Gonna Leave Your Side

This was always a little inferior compared to Bedingfield’s other famous ballad, the gorgeous ‘If You’re Not The One’. It’s a beautiful song nevertheless and a lovely pop ballad.

5) Richard Marx – Right Here Waiting For You

Slushy and sentimental ’80’s power ballad, a little cheesy but gorgeous nonetheless. One of the most beautiful ballads in pop history, evident from its extensive list of covers.

6) Kings of Leon – Use Somebody

A plea for help but refreshingly presented in an alternative rock format instead of as a ballad. An epic, emotive track full of stadium-rousing ‘oh’s’, wailing guitars and Caleb Followill’s raspy vocals. Still as good now as it was upon release back in 2008.

7) Robbie Williams – Different

One of Williams’ most underrated singles of his career. Co-written by Gary Barlow and Jacknife Lee, it’s a haunting and powerful pop-rock track aching with sincerity. Williams’ forte has always been the ability to put his heart on his sleeve and channel this into well-written lyrics. This deserved to fare SO much better on the UK chart.

8) Justin Bieber – What Do You Mean?

Bieber appears to have made it through his rough Britney-esque meltdown and has returned triumphantly with his best music yet. ‘I Need U’, a collaboration with Diplo and Skrillex was an incredible comeback and ‘What Do You Mean’ continues Bieber’s new electronic-dance-music sound. ‘What Do You Mean’ uses minimalistic instrumentation and gentle, funky production built up of squeaky, steel-pan-like synthesisers, skippy percussion and Bieber’s gentle vocal.

9) The Weeknd – As You Are

Dark, powerful and catchy track from The Weeknd’s (real name Abel Tesfaye) third and current album ‘Beauty Behind the Madness’. Canadian Tesfaye has been in the industry for a while but is only now finding worldwide success, aided greatly by ‘Earned It’, featured in this year’s Fifty Shades of Grey movie. Tesfaye is a pioneer of the ever-developing PBR&B (an alternative version of R&B music) and ‘As You Are’ is a strong demonstration of this. With slamming 80’s-styled percussion, echoing vocals and gentle synthesisers, it’s an explosing and haunting track. Incredible song.

10) The Weeknd – I Can’t Feel My Face

It’s easy to dismiss this song at first with it’s slightly deranged lyrics but it is also unmistakably catchy with its funky guitar riffs and heavy percussion. Very MJ.

Jess Glynne – I Cry When I Laugh Album Review

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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.

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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.

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Music Monday – Volume Sixty Four

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1) Chris Brown – Your World

Verging slightly on Beiber territory, on paper, this shouldn’t work but it somehow does… It’s easy to see why this didn’t make the main tracklisting for Brown’s album ‘Fortune’ (it only appears as a bonus track on the Japanese edition) – it’s a little on the cheesy side but it’s a pretty little R&B track.

2) Liberty-X – Holding on For You

Slushy pop ballad from one of the UK’s best and most underrated pop groups. A beautiful melody leads the track, lined by tight harmonies and catchy production.

3) Razorlight – America

A song too easily forgotten until its occasional re-play on the airwaves. Gentle dreamy verses escalate into a huge stadium-anthem chorus. Irresistibly catchy; one of the greatest indie-rock songs ever recorded.

4) Rita Ora and Chris Brown – Body On Me

Steamy and sensual R&B track with crashing beats and a rousing chorus. It’s a massive track; another success in both artists’ ever-increasing discography. One of the hottest tracks currently around.

5) Sigala – Easy Love

The song of the summer. Cleverly sampling massive Jackson 5 hit ‘ABC’, it’s a huge dance track full of house-tinged piano riffs and synthesisers mimicking steel pans, not too dissimilar to Duke Dumont’s huge 2014 summer hit ‘I Got U’. It’s impossible for this song not to leave the listener with a huge grin on their face.

6) Stylo G & Gyption – My Number One

Catchy reggae track. Depends on mood for the enjoyment of this one but it’s a great summer song.

7) Jess Glynne – You Can Find Me

Brilliant Prince styled track full of punchy percussion, gospel layered vocals, funky bass and 80’s synthesisers. SO good.

8) Galantis – Peanut Butter Jelly

It’s hard to determine if this is meant to be taken seriously or as a novelty track. Either way, it’s an impossibly catchy dance track full of sweeping 60’s styled strings.

9) Robbie Williams – Nan’s Song

Beautiful acoustic ballad which closed Williams’ best album ‘Escapology’. Williams croons about the loss of his grandparent, aching with sincerity. One of very few tracks Williams wrote alone, its a well-written and lovely track.

10) Michael & Janet Jackson – Scream

Aggressive and explosive electro-rock track by two of the Jackson siblings. Both Jacksons more or less spit the lyrics in assertion as they demand the press to “Stop f*****g with me”. The fury in the track is understandable considering it was Michael’s first single release since his 1993 child molestation allegations. Awesome, powerful track.

Music Monday – Volume Sixty Three

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  1. Selena Gomez & A$AP Rocky – Good For You

Moody and seductive, Gomez is pulling out all the stops to emphasise her new-found maturity. It never quite reaches its full potential; it’s crying out for a huge climax towards the end of the song but with its provocative message and the inclusion of A$Ap Rocky’s rap, it’s a step in the right direction of producing more grown-up music.

2) Jack Garratt – Weathered

Jittery with fierce beats, grunge-y guitars and a silky smooth vocal delivery from Garratt. It’s a huge song with fantastic production.

3) Jennifer Lopez – Play

Throwback to when J-Lo was still producing GOOD music. Drawing upon Prince and Madonna for influence, it’s a catchy and funk-driven dance-pop track with squeaky synths and slamming beats. One of the best pop tracks from the noughties era.

4) Leona Lewis – Fire Under My Feet

Explosive comeback single for 2006 X Factor winner Leona Lewis. Unfortunately, the lead single from Lewis’ forthcoming album has fallen under the radar due to slack promotion from new label Island/Def Jam. With stomping percussion layered with hand claps and moody piano chords, it’s Lewis at her best.

5) Chris Brown – Don’t Judge Me

Sombre, sulky and aching with sincerity, this is Brown at his best. The lyrical content is straight from the heart and Brown croons passionately over stuttering percussion and remote production.

6) Mark Owen – Makin’ Out

Much of this blog discusses how underrated I consider Mark Owen’s solo discography to be but I shall continue to reinforce my point! Quirky rock-fuelled track from Owen’s 2005 album ‘How The Mighty Fall’, this single was only a moderate success and deserved to fare far better. Brilliant lyrics and powerful vocal delivery from Owen as always.

7) Taylor Swift – Bad Blood

The album version is far superior to the single version with Kendrick Lamar although Lamar’s rap does not particularly detract from the power of the song. Fierce.

8) Taylor Swift – Style

Still one of Swift’s best singles of her career so far. Moody and sultry with funky 80’s styled guitars and crashing percussion.

9) Take That – Today I’ve Lost You

One of the most underrated songs of Take That’s career. Originally written as the follow up to 1995’s massive hit ‘Back For Food’, Barlow saved this one (many other songs written for what would have been Take That’s follow up album to ‘Nobody Else’ appeared on Barlow’s debut album ‘Open Road’) and it was recorded for the band’s 2005 Greatest Hits compilation. Barlow’s gentle vocals trickle over a soft and organic backing track, comprised of soft guitar strums and piano chords, sweeping strings and an awesome guitar solo. It’s a shame this was never taken further and released as a single; it’s a beautifully written and performed song.

10) Gary Barlow – My Commitment

Schmaltz-y love song from Barlow’s début solo album ‘Open Road’ which screams ’90’s!’ with its heavily programmed drum machine and glittery pianos. Co-written with songwriting legend Diane Warren, this is a beautiful ballad with a lovely message.

Music Monday – Volume Sixty One

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1) Aqualung ft Lianne La Havas – Eggshells

Haunting piece of electro-pop comprised of eerie synth sounds, soft beats, tinny guitars and fierce piano chords. La Havas’ soulful vocals and Aqualung’s excessively auto-tuned vocals are a surprisingly effective combination.

2) Years & Years – Memo

Stunning electropop ballad which closes Years & Years’ début album. Olly Alexander’s vocal performance is powerful and sincere as it drifts effortlessly over soft hip-hop beats, piano chords and distorted synthesisers.

3) Years & Years – Eyes Shut

Another beautiful gospel-influenced ballad with jazzy chords and soulful vocals from Olly Alexander. One of the highlights from Years & Years’ début album.

4) Years & Years – Ties

Years & Years doing what they do best; a powerful electronic piece with slamming beats, stuttering synths and sincere lyrics.

5) Seal – Kiss From A Rose

One of the most beautiful love songs ever written. Seal’s raspy vocals have a distinctive flare and powerfully soar above sweeping strings and acoustic guitar strums. It’s hard to believe this gorgeous ballad was not initially a success upon its release until it was included in the movie Batman Forever a year later. It’s also a shame Seal hasn’t maintained this level of success – his music is still just as well-written and powerful. One of the most underrated British artists around.

6) The Internet ft Kaytranada – Girl

A rich fusion of neo soul, electro and R&B with gorgeous vocals, shuffling percussion and littered with eerie sounds.

7) The Blue Nile – Sentimental Man

One of the most underrated bands of all time, not aided by their very limited output over a twenty+ year career. Gorgeous track from their 1996 album ‘Peace At Last’.

8) Nothing But Thieves – Trip Switch

LOVE this right now. Explosive track from Essex-born band Nothing But Thieves with a massive chorus. Conor Mason’s robust vocal delivery often drifting into his falsetto range really drives this powerful song.

9) Matthew Morrison & Laura Michelle Kelly – What You Mean To Me

Absolutely stunning ballad composed by Gary Barlow & Eliot Kennedy for the Broadway musical ‘Finding Neverland’. Matthew Morrison & Laura Michelle Kelly is a perfect pairing and their voices gel perfectly on this dreamy duet.

10) The Corrs – What Can I Do

Upon release in early 1998, this song wasn’t a hit until it was remixed by Tin Tin Out who added the punchy percussion and metallic guitar riffs. The remixed version was released in the summer 0f 1998 and became a massive hit. One of the greatest pop songs ever written with a syrupy sweet melody, gorgeous strings, a catchy beat and awesome vocals.

Music Monday – Volume Fifty Nine

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1) Mark Ronson – The Giver (Radio 1 Live Lounge Performance)

Radio 1’s live lounge performances present an opportunity for artists to really demonstrate their art through adapting and arranging existing songs by other artists. This is an awesome interpretation of Duke Dumont’s ‘The Giver’. Ronson gives his cover a 90’s vibe with funky guitar riffs, a drum machine loop and whistling synthesisers. It’s a little repetitive but it’s a great version.

2) Prides – Messiah

Explosive, synthpop track by Scottish band Prides. It’s a little bit 80’s with a powerful sing-along chorus. Can’t get enough of this right now.

3) Justin Bieber, Skrillex & Diplo – Where Are U Now?

A bit of a guilty pleasure on many levels. A collaboration between two artists which I usually don’t have much time for, there is something both endearing and catchy about this EDM track. Bieber’s vocals are sincere and Skrillex and Diplo’s chaotic production adds an extra dimension to what could otherwise work perfectly well as a gorgeous ballad.

4) Flo Rida & Robin Thicke – I Don’t Like It, I Love it

Another guilty pleasure; I don’t think it is possible to shamelessly admit to enjoying any song with Flo Rida’s involvement. This is irresistibly catchy, however. Funky guitar riffs and bass lines, hand-clap percussion, silky smooth vocals from Thicke and a frighteningly seductive whistle hook, it’s the perfect pop song.

5) Major Lazer, DJ Snake and MO – Lean on

Much of this song’s success is built upon it’s amalgamation of different genres. It draws upon EDM, electropop, trap and moombhaton music, resulting in an utterly irresistible track with bouncy percussion and squeaky synthesisers. SO good.

6) Carly Rae Jepson – I really Like You

Whatever your opinion on Carly Rae Jepson, she sure knows how to write and perform catchy pop music. It is already at risk of becoming as irritating as ‘Call Me Maybe’ but for the moment, it remains the perfect pop song with Jepson’s famous breathy vocals, slamming beats and a repetitive refrain. Catchy as hell.

7) Mark Owen – Giveaway

The entirety of Owen’s solo career is criminally underrated and last album ‘The Art of Doing Nothing’ is no exception. ‘Giveaway’ is the haunting, rousing opening track, building into a catchy electropop song with Owen’s distinctive vocals echoing endlessly into the heavily synthesiser dependent backing track. Awesome song.

8) Oasis – Stand By Me

An often commercially overlooked Oasis track but just as awesome as their other material from the 90’s. Well written as always by Noel Gallagher & Liam’s prominent drool carries the song.

9) Circa Waves – My Love

This song has been a favourite of mine since the release of Circa Waves’ debut album earlier this year. There’s something incredibly beautiful about it despite it not being a ballad. It’s a massive indie track with raw electric guitars, fierce drums, driving bass lines and a passionate vocal performance by frontman Kieran Shudall. The song has been re-recorded for release as a single, an unnecessary move as the album version remains superior but it’s still awesome. I’m so glad it’s the next single.

10) Wolf Alice – Bros

LOVE this. Tinny, manic percussion, gentle vocals, a powerful driving bass line and reverberating guitars with an instantly memorable hook. One of the best songs out there right now.