IndieLondon gleefully checks out
the cream of the week's singles. All you have to do is click on
the pictures to order them...
MONDAY, NOVEMBER 29
SINGLE
OF THE WEEK - GREEN DAY - BOULEVARD OF BROKEN DREAMS: How
good are Green Day at the moment? American Idiot was
the brilliant debut single from their latest album of the same
name, and its follow-up, Boulevard of Broken Dreams,
is an emotional, lyrically brilliant slice of pop-punk that is
destined to become one of the band's greatest anthems. Sing-along,
emotive and wearing its heart on its sleeve, the track is an excellent
example of why many people are hailing American Idiot,
the album, as their best long-player since Dookie. The single
is certainly on a par with Good Riddance (Time Of Your Life)
and, incredibly, isn't even the best thing on the album. That
falls to Wake Me Up When September Ends. Nevertheless,
I would urge you to rush out and buy this. Green Day remain at
the cutting edge of the pop-punk explosion.
Album review l Order
the album
SNOOP
DOGG - DROP IT LIKE ITS HOT: Arriving hot off the back
of the release of Snoop Dogg's seventh studio album, R&G:
The Masterpiece, comes this monster of a rap single, featuring
production values courtesy of The Neptunes and a guest vocal from
N*E*R*D-man, Pharrell. Currently the biggest rap record in the
US, the track features a killer hook that instantly buries itself
in your brain, with Pharrell rapping the first verse over a characteristically
beat-driven Neptunes production – complete with a brand
new style of beat box. It's typical of the smooth style we have
come to expect from Snoop, thereby ensuring he remains the top
Dogg on the urban scene (and the artist everyone wants to work
with; just check out the collaborations on the album).
Album review l Feature
l Order
the album
RAZORLIGHT
– RIP IT UP: Along with Franz Ferdinand and Keane,
Razorlight have probably enjoyed one of the best year’s
on record for a band. Their meteoric rise is richly deserved,
given the quality of their album, Up All Night, and former
singles, Vice and Golden Touch. The band also
won a legion of new admirers for their barn-storming gospel version
of Golden Touch on Parkinson, and has played to sold-out
venues up and down the country. For my money, they’re even
better than Franz Ferdinand, given the infectious nature of much
of their music, which is far more accessible than the Glaswegian
outfit. Rip It Up is one of several party anthems on
the long-player, which brings 2004 to a suitably rousing finale
for the band – paving the way for plenty of pre-Christmas
sales and taking them into 2005 on a big high.
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the album l Audio l Download
Golden Touch
THE
BLACK VELVETS - GET ON YOUR LIFE: Hotly-tipped by the
likes of Xfm and Radio 1, The Black Velvets possess the same sort
of old-school rock 'n' roll swagger that marked out the likes
of Oasis when they first appeared. They believe in their ability
and they're not afraid to shout about it. Get On Your Life,
which is being released in a strictly limited edition format,
takes listeners back to the Zeppelin era, with a touch of the
grunge of Soundgarden thrown in, making this an expansive, loud,
rock 'n' roll monster, jam-packed with some excellent melodies
and killer guitar hooks. If the early word is to be believed,
The Black Velvets could be one of the name's on everyone's lips
come 2005. So why not catch this particular train early? Get On
Your Life is the sound of an exciting new outfit.
Audio
REM
- AFTERMATH: The second single to emerge from REM's under-rated
Around The Sun album is a more upbeat affair than the
pensive brilliance of Leaving New York which provides
another fitting showcase of Michael Stipe's vocal quality. The
track contains a hint of country influence, as well as some lovely
piano bursts and cello lines that make for an all-round satisfying
experience. The strong lyrics, too, are typical of what we have
come to expect from the band. As a timely reminder of Around
The Sun in the run-up to Christmas, it should ensure that
the long-player finds its way into several stockings come the
big day.
Album review l Order
the album
NINA
JAYNE - NO ORDINARY PAIN: Born in North London to a Jamaican
mother and Pakistani father, Nina Jayne grew up with a diverse
soundscape, including country and western, and gospel and soul.
It's little wonder to find hints of some of these in her debut
single, No Ordinary Pain, which marks an eye-opening introduction
to the artist. The track is an honest and heartfelt comment about
homelessness, that is packed with memorable vocals, and a distinctive,
enticing style that marks Nina out as an artist to watch. She
is already attracting quite a buzz on the urban scene and has
provided support for the likes of Amp Fiddler, Roy Ayers and Lionel
Ritchie, with plenty more live dates to follow. The track comes
highly recommended.
Order
the EP
BABYSHAMBLES
– KILLAMANGIRO: Pete Doherty just seems to be everywhere
at the moment – as part of The Libertines, in court, or
with Wolfman. Here, he crops up in another of his personas, aka
Babyshambles, for another new single, Killamangiro. The
track is as fast, edgy and furious as we have come to expect from
Doherty’s Libertines guise, with punk-infused guitars, and
that memorably forceful set of vocals. Bonus track, The Man
Who Came To Stay, is, ironically, the better of the two –
featuring some truly blistering guitar work that provokes comparisons
with the hard-rocking punk-style of former Blur guitarist, Graham
Coxon. It might not be Doherty’s best work, but you have
to tip your hat to a man who keeps on coming. If one band fails,
there’s always another waiting in the wings. Babyshambles
is fun, even if it might not be remembered as fondly as The Libertines.
The track is released through Rough Trade Records.
Libertines review
FATBOY
SLIM - WONDERFUL NIGHT: A welcome outing for one of the
highlights to be taken from Fatboy Slim's latest album, Palookaville.
Unlike former single, Slash Dot Slash, Wonderful Night sounds
altogether more fresher for Mr Cook, and is a genuinely feel-good
dance number, with a funky back beat, and some quirky and distinctive
beats and breaks. The track also features a terrific vocal contribution
from Lateef, from Latryx, and should have the dancefloors full
come the Christmas season. Returning to the album, which was harshly
criticised by many critics, it does feature a selection of cracking
new songs that mark a change of pace for the Brighton-based DJ.
By releasing Wonderful Night, he might yet provide an
insight into what to expect, rather than some of the repetitive
beats and dancefloor anthems that no longer carry the same charm,
and which hinder the latter part of the album. Watch out for another
fun video too!
Album review l
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the album
COLOUR
OF FIRE - A PEARL NECKLACE FOR HER MAJESTY: It's time
to get heavy, very heavy, for Colour of Fire's latest ball-buster
- the crunching anthem, A Pearl Necklace for Her Majesty.
Boasting all the sleazy values we have come to expect from the
York outfit, including heavy guitar solos and soaring, inter-changing
vocals, the track is one for the metal fans among you, given the
heavy nature of the single. Bonus track, The Major Coincident,
is a far more slow-building affair, even though it ultimately
contains the same sort of brooding intensity. But Ghost is
a haunting, acoustically-driven track that actually sounds much
better for being a little more refined (and vocals that bare comparison
with Muse). Rocksound hails the Colour of Fire sound as being
'alarmingly close to perfection', while Kerrang! stated that their
songs soar 'majestically'. They've recently completed their debut
album with U2 and New Order guru, Steve Osbourne, on production
duties, and are planning a headline tour of Europe soon, with
UK dates alongside Sparta and Million Dead.
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the album
BAND
AID 20 - DO THEY KNOW IT'S CHRISTMAS: "This project
is not just about raising money – it's about putting the
focus back on Africa and the problem of famine which has not gone
away" - Midge Ure. With that statement in mind, it seems
almost sacrelegious to write a bad word about the single, which
clearly has a worthwhile agenda in bringing aid to people more
unfortunate than us. Sadly, however, Band Aid 20, complete with
the likes of Coldplay, Bono, The Darkness, Travis, Keane and Robbie
Williams (to name but a few), pales by comparison with the original,
lacking the passion or style of its record-breaking predecessor.
It'll no doubt be embraced by a new generation, especially those
who love Dido, Williams, Sugababes and co, but it probably won't
be as fondly remembered in as many years from now (and Dizzee
Rascal's rap sequence is probably as bad, if not worse, than the
much-maligned Madonna rap on American Life). And one can't help
wondering why such a talented bunch of artists couldn't have come
up with something more original than a cover version. That said,
it's a small price to pay for helping so many - so support it
in whatever way possible (even if it means donating without buying
the single).
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single/video l Watch the video
ICE
CUBE - YOU CAN DO IT: A big club favourite for well over
a year, not to mention a frequent flyer on Radio 1's playlist,
Ice Cube's hip You Can Do It is one of those guilty pleasures
that seems to have been around for ages (it was originally recorded
in 1999, but has now been updated complete with new mixes from
the Friday Night Posse). Needless to say, with Ice Cube on vocals,
it's heavy on the attitude, but also high on fun, making it an
easy one to get on down to, while getting jiggy with it even when
it's on the radio. It's easy-going charm is such that it has stood
the test of time well, making it a surefire bet to feature among
plenty of hip-hop compilation albums in years to come. An ideal
release for the upcoming party season.
Order
the Greatest Hits
BRYAN
ADAMS – FLYING: Having impressed greatly with his
latest single, Open Road, Bryan Adams now returns to
the sort of indifferent ballads that have become something of
a trademark of late. Flying is probably one of the weakest songs
on the new album, Room Service, which finds the Canadian
rocker in deeply romantic mode, singing about another love of
his life. Fans who can’t get enough of the singer in Everything
I Do/All For Love mode, will no doubt swoon, while the cigarette
lighters were out in force for the track during Adams’ recent
live shows in the capital and at Brighton. He does them well (I’ll
give him that), but I much prefer the rockier stuff, which, thankfully,
can be found in abundance on the latest album.
Album review l Order
the album l Album
feature l Audio
NATASHA
BEDINGFIELD - UNWRITTEN: Natasha Bedingfield has quickly
emerged from the shadow of her older brother, Daniel, to become
the better artist of the siblings, thanks to a grittier edge to
her music that also marks her apart from some of the more bland
pop singers out there. Unwritten, the title track from
her debut album, is an upbeat ballad that sounds all the more
refreshing for not playing to formula, mixing things up with a
funky beat and some nice gospel touches. It's no coincidence that
her style of music is drawing favourable comparisons with the
likes of Nelly Furtado, rather than helping her to become burdened
with the label of 'the next Britney' or 'next Christina'. It remains
to be seen whether Natasha can genuinely break free from the pop
shackles with her second album, but the omens are certainly good.
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the album
69CORP -DEMONSEED: With a name like Demonseed,
you could well imagine the latest track from 69Corp to be a heavy
metal anthem to rival the intensity of Rammstein or Metallica.
But you'd be wrong. Think Death in Vegas mixed with the darker
side of Massive Attack and you're closer to what to expect. 69Corp
are an elusive duo from Edinburgh and their latest offering is
a strangely addictive affair, full of warped keyboards, a sly
beat and some haunting vocals that really stop and make you listen.
And while it's not going to set the world on fire, it's sure to
build on 69Corp's ever-emerging reputation as music-makers to
watch, capable of creating mood music to rival the likes of the
aforementioned Massive Attack. Good luck in trying to find it,
though, for one suspects this will find a niche in the specialist
record shops of London, rather than the shelves of HMV or Virgin.
ALTER
EGO - ROCKER: German techno duo, Alter Ego (aka Roman
Flugel and Jorn Elling), first released Rocker at the beginning
of the year in very limited qualities. Its success at Glastonbury,
Creamfields and Sonar, however, has prompted them to put it out
as a proper release, given that they have the support of the likes
of John Peel, Jo Whiley, the Audio Bullys, Andy Weatherall and
Black Strobe, to name but a few. As you might expect from a German
techno crew, Rocker is a heavily electronic slice of Euro-disco,
complete with 80s vibe, that touches on some of Mr Scruff's scuzzy
cuts. It went down a storm among the Ibiza faithful in the Summer
thanks to its nob-twiddling mix of monotonous beats and Euro sensibilities.
That said, it's largely forgettable and probably is best suited
to the underground from which it emerged. It is taken from the
duo's fourth album, Transphormer.
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the album
MONDAY, NOVEMBER 22
LEMON
JELLY - STAY WITH YOU: Hurrah, hurrah! Lemon Jelly are
back and the disc-wobbles are still as magnificent as ever. Having
teased fans with excerpts from their new material during the excellent
live shows in the Summer, Fred and Nick now prepare to unleash
their third album, '64-'95, with this humdinger of a
single, featuring a sublime sample of Gallagher and Lyle's
I Wanna Stay With You, and plenty of the trademark Lemon
Jelly bouncy beats. It's a genuinely uplifting, feel-good record
that, quite possibly, represents the duo's most mainstream offering
yet. But as a taster of what to expect from the new album (due
in the new year), it really does heighten the anticipation. Exemplary
as ever.
Pre-order
the album l Lost
Horizons l Caught
live: Somerset House
KEANE
- THIS IS THE LAST TIME: Keane opt to end 2004 on an
upbeat high, with the fourth single to be released from their
hopelessly successful debut album, Hopes and Fears. This
Is The Last Time epitomises all that is great about listening
to the band - strong pianos, powerful, heartfelt vocals and a
freshness that is sometimes sorely missing from this genre of
music (perhaps due to the absence of guitars?). Interestingly
enough, the track was originally released on independent label,
Fierce Panda, prior to their mainstream breakthrough, but appears
in a remixed album version here. It should ensure that Keane end
the year on as big a high as they began it. One can only guess
what they will go on to achieve in 2005.
Interview l Album
review l Order
the album l Audio/video l Caught
live
DELAYS
- LOST IN A MELODY: The Delays emerged as one of the
brightest new acts at the beginning of 2004, following the back
to back hits, Nearer Than Heaven and Long Time Coming,
taken from their glorious debut album, Faded Seaside Glamour.
They have also been growing in stature during their live performances.
It comes as no surprise, therefore, to find that their first new
material has become a live favourite. Lost In A Melody
is more dance-driven than previous offerings, with a driving beat
and heavily synthesizer-led backing, but it still provides an
effective showcase for Greg Gilbert's distinctive falsetto vocal
style, as well as a suitably catchy feeling. What's more, it comes
with the opening track on the album, the Jamaican-tinged, feel-good
anthem Wanderlust, which really does recall the sound
of the Delays at their brilliant best. It also means the band
should end 2004 on a similar high to the way in which they began
it.
Album review
l Order
the album l Caught live
l Watch the video
KRISTIAN
LEONTIOU - SOME SAY: Talented new British singer-songwriter,
Kristian Leontiou, looks to end a brilliant 2004 on a high with
the release of the third single from his debut album, Some
Day Soon. Some Say is another heartfelt, sweeping ballad-style
epic that builds on the quality of his previous singles. Containing
a quietly impressive guitar riff and some more powerful vocals,
the track is a poignant love song that really does mark Leontiou
out as one of the year's best finds. If previous tracks haven't
already convinced you, then this should go some way to ensuring
that the debut album makes it into your record collection by the
end of the year.
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the album
LINKIN
PARK/JAY-Z: NUMB/ENCORE: Taken from Collision Course,
MTV's once-in-a-lifetime performance of Linkin Park and Jay Z,
which was captured live on July 18, 2004 at the Roxy Theatre in
West Hollywood, California, this unique and exciting fusion of
two of the biggest acts in rock and hip-hop/rap really does deliver
the goods as an appetiser for the album itself. Featuring one
of Linkin Park's biggest hits, and trademark nu-metal guitars
and raging, the track is neatly mashed-up with Jay-Z's unmistakeable
rapping style which works far better than one might initially
have imagined. The track comes in a radio-friendly and explicit
format, but is a must-have for fans of both artists nonetheless.
Album details
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the album
OUKAST
- PROTOTYPE/GHETTO MUSICK: Following hot-on-the-heels
from the band's success at last week's MTV
European Music Awards in Rome comes this double-A sided single
to celebrate more brilliance from the duo's critically-acclaimed
Speakerboxx/The Love Below album. Prototype
is Andre 3000's funk-laden ballad to celebrate the discovery of
his perfect woman, told in the singer's own inimitable style,
while joint effort, Ghetto Musick, features a pumping
beat offset against more of the duo's fluid rhythms and a Patti
Labelle sample. I have to confess to hating Ghetto Musick
when I first heard it, but following many listens as part
of the whole Speakerboxx experience, I've come to admire
the energy contained within. It would be foolish not to own the
long-player by the end of the year, for it's the new standard-bearer
in modern hip-hop, rivalled only by the likes of DM
& Jemini and the new Handsome
Boy Modeling School long-player.
Album review l Order
the album
VERRA
CRUZ - CORNER OF MY MIND: Verra Cruz - comprised of Marc
James (guitar, vocals), Jimmy Cook (drums) and Nick Bright (bass)
- are rapidly earning a name for themselves among the Kerrang!/Rocksound
fanbase, thanks to the success of their previous single, Soul
Collides. Their sound is all about big guitars and powerful
lyrics which can't help but provoke comparisons with the likes
of Bush and Foo Fighters. It's little wonder, then, that the band
have already been picked up by top LA radio station, KROQ, which
recently made them a 'Single Of The Week'. Corner of My Mind,
the follow-up, is a foot-stomping, fireball of a track that is
as fast and furious as they come. Bonus track, Rock And a
Hard Place, really pushes the Bush comparisons, particularly
vocally, while the live version of Bitter Feelings is
a really terrific demonstration of their ability to slow things
down a bit and add some poignancy to the mix. Heck, there's even
a bit of Pearl Jam thrown in. Rock fans should be in guitar heaven.
THE
BRAVERY - UNCONDITIONAL EP: A welcome re-release for
The Bravery's Unconditional, which adds impetus to the
claim that they could become one of the bands to watch in 2005.
The track, which has been picked up by Xfm and co, is an exciting
mix of driving rhythms, electo flourishes and Strokesian/Cure
vocals, complete with one of those guitar riffs that hooks you
in from the outset. The riff in question is right up there with
the likes of Coldplay's In My Place and Modest Mouse's
Float On for the way in which it reels you in. And while
the vocals might not match the unique appeal of both of those
bands, there is still plenty to admire and look out for in the
future.
DEPECHE
MODE - ENJOY THE SILENCE REMIXES: Talk about knowing
when you're on to a good thing. Not satisfied with a 3CD remix
album, and two formats of Enjoy The Silence on that,
Depeche Mode now unleash several different single forms of their
seminal track, with remixes from the likes of Richard X, Goldfrapp,
Ewan Pearson and Black Strobe. Stretched across CD and vinyl formats,
some of the makeovers make for an interesting interpretation on
the timeless theme, while others simply get it completely wrong.
Depeche Mode fans will probably want all variations to complete
the collection, while they undoubtedly offer a suitable insight
into what to expect from the remix album (which is as mixed a
bag as you might expect).
Album review
NELLY
AND CHRISTINA AGUILERA - TILT YA HEAD BACK: Another of
those massive collaborations that seem to provide an easy recipe
for success within the urban world of music at the mo, this one
features superstar Nelly and Christina, and is actually quite
good, thanks to a funky rhythm, a serious vibe, and some suitably
sultry vocals from Miss Aguilera (who sounds much better here
than on the recent Car Wash single). The track, which also features
a sample of the Curtis Mayfield classic, Superfly, is
taken from the Nelly double album, Sweat and Suit
(and appears on Suit), which has provided the R&B
star with yet another phenomenal success story. The vibe on this
one is so hot it could easily crop up on the soundtrack to a Steven
Soderbergh-backed crime caper at some point.
Order
Sweat l Order
Suit
STREETS
- COULD WELL BE IN: There's been no stopping The Streets
in 2004, largely because of the success of Dry Your Eyes.
But the jury is still out, for me, on Mike Skinner, whose efforts
from A Grand Don't Come For Free still fall between enormously
annoying and ok. Could Well Be In is another soft track,
in the style of Dry Your Eyes, which probably features
the artist at his best, and which demonstrates a more mature outlook.
It finds Mike in a first encounter with a love interest, Simone,
and intertwines a conversation between him and Simone as well
as lyrics about a dating program on television - all over a cool
piano break! It makes a nice companion piece to Dry Your Eyes
as well - love lost and found. That said, I still don't believe
The Streets warrant the hype they continue to generate.
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the album
SHANIA
TWAIN - PARTY FOR TWO: Shania Twain releases another
slice of trademark electro pop that should continue to mark her
out as her country's leading country singer. Party For Two
features a duet with Mark McGrath, sounding really like Bryan
Adams (any mistake?), but is a fairly average entry into the
back catalogue which seems tailor-made to promote the Greatest
Hits album (released recently). Its certainly bouncy enough
to generate the airplay it will undoubtedly receive, but Shania
is probably capable of far better and her fans might feel a little
disappointed. For me, it's a bit of a turn off that would fail
to get the party started.
Album review l
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the album
MONDAY, NOVEMBER 15
MODEST MOUSE - OCEAN BREATHES SALTY: Having finally got some
of the attention their music so clearly deserves following the
release, earlier this year, of Float On, Washington-based
alt-rockers, Modest Mouse, return with an even better track, in
the form of Ocean Breathes Salty. Featuring a guitar
riff that is even more memorable than the one on Float On,
courtesy of Dann Gallucci, the track is an effortless ear-pleaser
that demands repeat listening. Frontman, Isaac Brock's idiosyncratic
lisp and edgy vocal style are also to the fore, making this an
excellent advert for all the band has to offer. The track is one
of the highlights from the new album, Good News For People
Who Like Bad News, which could provide the more adventurous
listener among you with one of the most surprisingly rewarding
purchases of the year.
Album review l Order
the album l Feature
EMBRACE
- ASHES: Ok, so it's cool to like Embrace again. After
seemingly becoming caught up in a sea of bland ballads, Embrace
returned earlier this year with a truly enterprising new album,
Out Of Nothing, which mixed things up a little and delivered
some of their best material in ages. And while the Chris Martin-penned
Gravity may have been a little old-school and ponderous,
Ashes is a completely different kettle of fish - a skyscraping
anthem that marks Embrace at their mighty, magnificent, soaring
best. Feel-good in a way not usually associated with Embrace,
the track builds and builds with heartlifting subtlety, courtesy
of some terrific guitars and Danny McNamara's soaring vocals.
It gets the album off to a terrific start and is well worth raving
about. It means Embrace are, once again, at the forefront of the
indie revival that seems to be taking place at the moment.
Album review l Order
the album l Watch the video
MANDO
DIAO - PARALYZED: Swedish hard-rockers Mando Diao finally
release their debut UK single proper in the form of Paralyzed,
a blistering ode to sex, tight pants and raging guitars. Recorded
in their basement on garage-sale gear, the track recalls the gutsy
brilliance of The Hives, with a slightly more mainstream tone.
It's ballsy, slightly bluesy and guaranteed to get the sweat glands
pumping, while serving as an excellent foretaster of what to expect
from the debut album, which is due in early 2005. The blues-laden,
retro-tinged rock workout of bonus track, Motown Blood, is another
excellent example of their emerging talent, which contains the
sound of a band that could have been around for years, instead
of just starting out. While the guitar-charged fury of Bring 'Em
In is simply bruising. One can only imagine what they might sound
like live. But stay tuned, for Mando Diao could become another
of 2005's biggest hits.
RADIO
4 - STATE OF ALERT: Punk-funk innovators, Radio 4, release
one of the best tracks from their critically-acclaimed album,
Stealing of a Nation, in the form of the supremely catchy, State
of Alert. Featuring the band's bass line-driven, synthesizer-regulated
disco-punk style, complete with edgy guitars and busy beats,
State of Alert also provides a fitting showcase for Anthony
Roman's distinct vocal style, which, at times, sounds strangely
like the late Michael Hutchence, of INXS. The single is an excellent
reminder of why the New York-based outfit are so highly regarded
and comes complete with a live version of Transmission,
which is a must for all fans. Bonus tracks, Pipe Bombs
and Struggle (also recorded live) aint bad either!
Album review l Order
the album l Feature
BLUES
EXPLOSION - HOT GOSSIP: The Blues Explosion (John Spencer
and co) release one of the highlights from their latest album,
Damage, in the form of Hot Gossip, a rock/rap
crossover that features an authoritative vocal from Public Enemy
legend, Chuck D. Destined to become one of the Explosion's biggest
anthems, Hot Gossip is as raw and emotive as we might
expect from such a collaboration, featuring some typically blistering,
blues-drenched guitar work, wrapped around those distinctive rap
vocals. It shouldn't work as well as it does, but that just goes
to show how talented Mr Spencer is. He's not afraid to push musical
boundaries and the track could well earn the excellent album more
listeners as a result.
Album review l Order
the album l Feature
PAUL
WELLER - THINKING OF YOU: The latest track to emerge
from Paul Weller's album of cover versions, Studio 150,
is a slightly curious choice for the artist, given that it was
originally a disco smash for Sister Sledge (originally penned
by Nile Rogers and Bernard Edwards). Slower in style and much
more heartfelt, the track showcases a tender side to Weller that
isn't usually quite so apparent, and is an eye-opening entry onto
the former Jam singer's CV. What's more, 50p from the sale of
each copy is being donated to this year's Children in Need campaign.
The single itself comes with two new cover versions not on the
album - namely Don't Go To Strangers, which was originally
done by Joni Mitchell and Sony Bono, and Needles and Pins,
a track by Jack Nitzche that was made famous by The Searchers.
Order
the album l Hear the track
THE POLYPHONIC SPREE - 2000 PLACES: The artistic
wonders that are The Polyphonic Spree return with another grand
opus of a single, in the form of album highlight, 2,000 Places.
The song is packed full of the lush melodies and sprawling choral
numbers that the band is renowned for, as well as some more of
those ever-so distinctive vocals from former Tripping Daisy frontman,
Tim Delaughter. That said, it's no longer as fresh as it once
sounded, and is one of only a handful of tracks that truly stand
out from the album, Together We're Heavy, which feels
like a much more preachy and far too self-congratulatory affair.
B-sides include a rendition of Happy Christmas, War Is Over,
which is previously unheard by anyone. The band is currently on
tour in the USA and have added Marilyn Manson to their plethora
of celebrity fans following their incredible performance on the
MTV Music Awards.
Album review
l Order
the album
THE
WHITE STRIPES - JOLENE (LIVE): The White Stripes have
often been hailed as one of the best live acts around, so it's
little wonder to find them finally releasing a live track to showcase
this. What is surprising, however, is that they have chosen a
cover of Dolly Parton's Jolene, which was recorded live
under Blackpool lights. The ensuing track is something of a masterclass
in blues rock brilliance, that slowly builds to a rocky finale.
It is testament to the White Stripes' ability to keep things fresh
and exciting that they haven't merely contended themselves with
releasing an album favourite in life form, but rather mix things
up a little with a gutsy makeover of a classic track in its own
right. For anyone who caught the show, loves The White Stripes,
or is thinking about seeing the tie-in movie, this is essential
stuff indeed.
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NICK
CAVE & THE BAD SEEDS - BREATHLESS/THERE SHE GOES MY BEAUTIFUL
WORLD: The second single to emerge from Nick Cave's double
album, Abattoir Blues/The Lyre of Orpheus, is a double-A
side, featuring two of the better tracks from it. Breathless
appears in a slightly new format, produced by Nick Launay,
which, if anything, is a little more upbeat that the album version,
courtesy of some really great folk guitar and some nice percussion
touches. The vocals are as striking as we have come to expect
from Cave, complete with a genuinely touching sense of emotion
(about a lost love). Strong, too, is a shortened version of There
She Goes My Beautiful World, which is darker and more foreboding
in tone (and with more than a hint of Doors about it). The gospel
choir which accompanies the track is another nice touch, tapping
into the current trend for using gospels to great effect. Needless
to say, Cave has chosen one track from each of the two albums
to provide an insight into the diversity on show.
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LEMAR
- IF THERE'S ANY JUSTICE: Lemar returns with another
fitting showcase of his vocal prowess with this brooding, Seventies-style
track, that features the artist at his most soulful. Packed with
the horns and strings of Brian Hey, the track harks back to a
different era of songwriting and sounds all the better for it,
thereby guaranteeing Lemar another massive hit to follow-up his
double platinum album and previous three hit singles. It's probably
more suited to the Kiss/Capital crowd than the alternative brigade,
but as an example of something a little bit different, that still
fits into the mainstream, it makes a refreshing change.
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ELVISS - NOT ENOUGH: More hard-rocking, this
time from Elviss, whose brand of skater-boy rock-punk was so appealing
to pro-skater, Tony Hawk, that he requested them to play for him.
Needless to say, Not Enough, their latest EP, is a fast
and furious affair, packed with edgy guitars and shouty lyrics.
Produced by Paul Tippler (Ash/Placebo), through Plummet/Karma
Lion Records, the track has already been made a single of the
week by Radio 1's Jo Wiley, as well as attracting the ears of
Xfm (who have had them in for a recording session). Bonus track,
Disappointment, is a similarly loud affair, packed with crashing
guitars and drums. It's all very post-punk, yet not quite strong
enough yet to justify the hype surrounding them. That said, Stone
Sour's Corey Taylor has hailed them to be the 'best support band
I've ever had'. Bring some ear-plugs.
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THE
THRILLS - NOT FOR ALL THE LOVE IN THE WORLD: The Thrills
have failed to, well, thrill, since the early brilliance of tracks
such as Santa Cruz and Big Sur. Not For
All The Love In The World, the second track to be lifted
from their sophomore effort, Let's Bottle Bohemia, is
no exception, coming across as a dreary ballad that seems content
to play rigidly to formula. Heartfelt it may be, but it lacks
the West Coast-infused pop melodies that made earlier efforts
so memorable and which have helped them to become so popular so
fast. On the strength of this effort and Whatever Happened
To Corey Haim?, the follow-up album to So
Much For The City is a big disappointment. Which is a shame,
as I was expecting so much more from this Irish outfit.
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FRANZ FERDINAND – THIS FIRE (DOWNLOAD ONLY): Franz
Ferdinand celebrate the end of a phenomenal year with the download-only
release of This Fire, re-recorded from scratch in LA
with producer, Rich Costey (Muse, Jimmy Eat World), to be their
second single in the States. Featuring the same sort of killer
hooks and edgy vocals that made their breakthrough hit, Take
Me Out, so memorable, This Fire is the sound of
Franz Ferdinand doing what they do best and rates among the album’s
many highlights. Having conquered both sides of the Atlantic,
attracting legions of fans and winning a Mercury Music Prize into
the bargain, one wonders what 2005 will bring for the Glaswegian
outfit. This Fire is undoubtedly the sound of a band on scorching
form, while bonus track, Darts of Pleasure, is another belter.
Album review l Mercury
Music prize l Download
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GWEN
STEFANI - WHAT YOU WAITING FOR?: No Doubt lead singer
and fashion guru, Gwen Stefani, delivers her first solo single
since teaming up with Eve and Dr Dre, in the form of What
You Waiting For, an 80s-inused dancefloor filler that quickly
becomes annoying. Kicking off with a mock ballad-style intro,
the track then kicks in with a mixture of electronic beats and
melodies that hark back to the decade that Americans seem to love,
without bringing any of the cheesy fondness with it. Stefani's
vocals remain as striking as ever, particularly during the sassy
chorus, but this feels like a backward step for the performer,
which recalls all that was similarly bland about No Doubt during
their early years. The track is taken from Stefani's debut solo
album, Love Angel Music Baby, so it remains to be seen
whether the rest of the material on that is any better.
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review
JO-JO
- BABY IT'S YOU: Precociously-talented singer-songwriter,
or teenage burnout in waiting? It's hard to know what lies ahead
for Jo-Jo, the 13-year-old who sounds like someone triple that
age. Hot on the heels of Leave, Jo-Jo releases another
catchy slice of pop-infused R 'n' B that comfortably gives the
likes of Beyonce, Janet and J-Lo a run for their money. The single
version, featuring a guest appearance from US rapper, Bow Wow,
is a pulsating affair, which features some insightful lyrics that
make a mockery of her tender years. As good as the track is, however,
you can't help but feeling that for some of the new young crowd,
the innocence of youth has been tarnished. Should we really be
encouraging our kids to grow up this fast?
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FABOLOUS
- BREATHE: More urban smooth grooves in the Nelly/Usher
style of things. This has all the urgency of Usher's Yeah,
with a nice backbeat, some cool attitude, and some tingling piano,
making it a better-than-average entry into the urban genre. And
it also rates as one of the best songs on Fabolous' new album,
a track which has helped him to earn the reputation of the new
prince of New York. However, it's not quite as Fabolous as the
artist's name suggests, but certainly something worth checking
out for anyone who gets their kicks in this sort of territory.
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MCFLY
– ROOM ON THE THIRD FLOOR: You just can’t
seem to keep a bad boy band down. Not content with attempting
to copy the likes of Sum 41
or Green Day, McFly
now attempt to chart ballad-style Oasis territory with the title
track of their album, Room on the Third Floor. It also
owes much in style to some of the more thoughtful material on
the new Green Day album – but just simply isn’t in
the same league. McFly just sound too young to carry it off, even
if there is some hint that, given time, they might develop into
a rock band capable of being taken seriously. The real choker,
however, is that this track will probably make a bigger chart
impression than many of the acts it is trying to imitate. Is there
any justice?
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FRANKIE
AND CALVIN – DREAMING: Frankie and Calvin are two
of the young stars of CBBC One’s latest musical drama, I
Dream, a series of half-hour musical TV dramas which boasts
the dubious claim of making dreams come true. The title track,
which is a fore-taster of the forthcoming album, is a hopelessly
bland affair, with sugar-sweet voices talking of ‘dreaming’
in an overly repetitive, sickly saccharine sort of way. Clearly
designed with its eye on the chart, and with its young TV audience
in mind, the track is a sickening excuse to cash in on the dubious
merits of the TV show. It may be called Dreaming, but
listening to it for too long is the stuff of nightmares!
GIRLS
ALOUD - STAND BY YOU: Girls Aloud have been winning quite
a bit of praise for their heartfelt cover of The Pretenders' classic,
which has been re-imagined for Children in Need, and which makes
me reluctant to criticise it too much. Vocally, Sarah, Cheryl,
Nicola, Kimberley and Nadine can't really hold a candle to Chrissie
Hynde's mesmerising style, but as cover versions by girl bands
go, it aint bad, and it's for a good cause. Enough said, really.
Given who it's marketed at, it shouldn't fail to make a big impression
on the charts, while raising money for a worthwhile cause. Hailing
Girls Aloud as 'one of the best girl bands of all time' in the
PR does, however, stretch credibility somewhat, and don't expect
us to be quite so kind when they release their next song sometime
in the future.
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MONDAY, NOVEMBER 8
SINGLE
OF THE WEEK - U2 - VERTIGO: Irish rockers, U2, return
with another gem of a single, underlining their position as one
of the world's most consistently enjoyable and evolving bands.
Vertigo, taken from the forthcoming long-player, How
To Dismantle An Atomic Bomb, is one of the band's biggest
anthems in recent years, arriving with the same sort of intensity
as Hold Me, Thrill Me, Kiss Me, Kill Me, from the Batman
soundtrack. Vertigo is the sort of track that is instantly
accessible and downright essential, boasting several terrific
guitar riffs from The Edge, as well as a typically strong set
of vocals from lead singer, Bono. It expertly blends the best
of the old, with some nice touches for the future. Roll on the
new album...
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Album review
NAS
- BRIDGING THE GAP: Hip-hop/r'n'b collides with old-school,
Mississippi-based blues in spectacular fashion, thanks to Nas'
brilliant crossover single, Bridging the Gap. A firm
favourite on Radio 1, especially with Zane Lowe, and released
due to overwhelming public demand, Bridging the Gap is a truly
epic affair, a feel-good slice of Nas at his tip-top best, which
also features a vocal from Olu Dara, his father. It marks the
first track to be taken from the highly-anticipated album, Streets
Disciple, which could well become the artist's most successful
effort to date.
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GRAND
NATIONAL - DRINKING TO MOVE ON: Grand National effortlessly
capture the spirit of New Order in their latest single, the brilliant
Drinking to Move On. With its ringing guitars, laidback
vocal style and electronic loops, Drinking To Move On is also
one of the finest records on the band's debut album, Kicking
The National Habit, which was released earlier this year
to largely good reviews. It's the type of track that hooks you
in from its opening moments and then continues to delight, courtesy
of its easy-going style, and memorable melodies. Intelligent and
richly rewarding, it deserves to catapult Grand National into
the mainstream spotlight, as well as bringing some extra interest
to the long-player. Bonus track, Strange Magnificent Noise,
while edgier and darker in tone, is just as good, proving that
the Grand National duo of Rupert Lyddon and Lawrence 'La' Rudd
could well be a band with a very bright and big future ahead of
them. Fingers crossed they can continue delivering material of
this quality.
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TWISTA
- SO SEXY: More smooth-groove collaborations, this time
featuring Twista and R Kelly, who serves as both producer and
guest vocalist. It's as slickly produced as we've come to expect
from this sort of R'n'B offering, and perfect for a late-night
smooch (or dance) among the smooth-groove, Kiss FM crowd. The
video features even more of Twista's friends hanging out together,
including Da Brat, Swizz Beatz, Selina Johnson and Freeway. It's
directed by Marcus Raboy (Mary J Blige, Ice Cube), and is as sexed
up as the title of the track suggests. Formulaic, but courtesy
of a neat guitar riff and some slinky beats, it doesn't offend
as much as it might, and has to rate among the better collaborations
for this sort of thing. The decision to slow it down, for Chapter
II, doesn't work quite so well. It's better with the urgency.
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MASE
- WELCOME BACK/BREATHE STRETCH SHAKE: It's been five
years since 26-year-old Mason 'Mase' Betha gracefully bowed off
the hip-hop stage to pursue a higher calling, but now that he's
returned, he's back with a bang. Enlisting the support of P Diddy,
the rapper unleashes this double-A side, which epitomises his
desire to have fun within the medium. Hence, Welcome Back,
which features a sample and hook over the theme from Welcome
Back Cotter, is all about being playful, while Breathe,
Stretch, Shake is a club-banging anthem that recalls the
attitude of 50 Cent's In Da Club, albeit with a faster
groove. Both tracks should serve to ensure the album attracts
a large following for Mase, whose absence has only made the heart
grow fonder.
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STERIOGRAM
- WALKIE TALKIE MAN: Fast earning a big name among Xfm
listeners, particularly on the evening shows, New Zealand five-piece,
Steriogram, deliver another bout of their trademark rock, which
might just help them to the place in the spotlight that their
talent would seem to deserve. Fast and furious, yet strangely
addictive to boot, Walkie Talkie Man is also currently
being used in the iPod adverts - a surefire route to success for
any band that needs a break at the moment. The track could do
for Steriogram what David Beckham's commercials did for Jet -
and that's no bad thing!
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JAMIE
CULLUM - EVERLASTING LOVE: Precociously talented young
jazz sensation, Jamie Cullum, has quickly become one of the UK's
brightest new talents. But while his decision to appear on an
album like Handsome Boy Modeling School's White
People, alongside John Oates, is to be applauded, his dreary
version of Everlasting Love, for the Bridget Jones:
Edge of Reason soundtrack, is not. The song fails to make
the right sort of impression when you first hear it on film, and
in record form, is equally forgettable. Appearing on such a high-profile
soundtrack will undoubtedly win Cullum more fans, but it's a lazy
way of gaining interest and fails to do any justice to his talent.
Avoid - much like the movie!!!
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V
- YOU STOOD UP: Another week, another boy band, another
drippy ballad, and another waste of time. Lord save us from generic
bands such as this. V's latest, You Stood Up, has been
produced by Mark Taylor, the man responsible for hits by Kylie,
Britney and Enrique, and smacks of all the soul-squashing qualities
of ballads from those artists. It follows exactly the same formula
of pairing young, dreamy-looking boys longing for lost loves in
equally turgid videos, that no doubt sweep love-struck young girls
off their feet. Think Take That, Boyzone, Blue, etc, and you're
probably in the right neighbourhood. The track may be called You
Stood Up - the sentiment is, they should grow up.
MONDAY, NOVEMBER 1
THE
STROKES - THE END HAS NO END: It's been a while since
we've had any new material from New York's finrst punk-rockers,
The Strokes, so it comes as a teeny bit of a shame to find them
resorting to their last album for material. That said, The
End Has No End is only the third track to be taken from the
excellent Room On Fire LP and, given the quality of the
album, it would be a shame if it only spawned two singles. And
The End Has No End, with its memorable guitar hook and
typically edgy vocals, does rate among the finer moments on it.
It serves as a good way to end the year for The Strokes, who continue
to set the standard for this sort of thing.
Album review l Order
the album l Hear the audio
EMINEM
- JUST LOSE IT: The motormouth rapper is back with a
brand new single and the controversy, needless to say, remains
intact. This one has courted the attention of Michael Jackson,
who campaigned for the video to be banned, but it will probably
only help the record to become bigger than it arguably deserves.
Just Lose It, while catchy, is the sort of track you just feel
won't age well and is an easy way of easing Eminem's fans into
his new long-player, Encore, which marks his fourth studio
effort. It's generally about losing the plot and features some
memorable hooks and lyrics (as ever!) but it doesn't feel too
much of a stretch for the artist and probably has to rate among
his most commercial works yet. That won't stop it being huge,
however.
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YEAH,
YEAH, YEAHS - Y CONTROL: Released to coincide with the
emergence of the first full-length Yeah Yeah Yeahs DVD, Tell
Me What Rockers To Swallow, Y Control is an effortlessly
sleek indie offering from the alt-rockers that recalls all that
is captivatingly brilliant about listening to the band. Similar
to Maps in many of its guitar riffs but a little more
rockier to boot, Y Control not only serves to place the DVD firmly
in the spotlight, but also as a timely reminder of the brilliance
contained throughout the band's last album, Fever To Tell,
which was released last year.If you've not heard it yet, then
it's well worth investigating.
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USHER
- CONFESSIONS PART TWO: The R'n'B/urban artist of the
moment gears up for the festive run-in with another heartfelt,
ballad-style effort from his ultra-successful long-player, Confessions
Part 2. The song is another cautionary tale of love and broken
promises which seems to be a recurrent theme in much of the album.
It's sung with all the conviction and intensity we have come to
expect from the artist, yet feels way too familiar into the bargain,
leaving you pining for the sort of guilty pleasure that Yeah provided.
The second part of this single features a duet between Usher and
Alicia Keys, called My Boo, which was written specifically
for the 8701 release and was originally recorded with
Beyonce. Given that it features another high-profile collaboration
between R'n'B artists, the success of the track is all but guaranteed
- although with Eminem out on the same day, it should be interesting
to see who charts higher.
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DESTINY'S
CHILD - LOSE MY BREATH: Having already cast a glance
over new releases from Eminem and Usher, it comes as some relief
to report that the brand new offering from Destiny's Child is
the week's biggest pleasure from the R'n'B/hip-hop fraternity.
Lose My Breath, which was produced by legendary urban music producer,
Rodney 'Darkchild' Jenkins and Beyonce Knowles, is a genuinely
catchy anthem, featuring a heavy military-style beat, and a really
driving bassline. The vocals of Beyonce, Kelly and Michelle are
typically sassy and should help to ensure that the track becomes
one of the biggest dancefloor fillers of the upcoming party season.
In solo form, this Texan girl trio are massive in each of their
own rights, so just imagine what they can do together. Destiny's
Child are back with a bang and the vibe is all good on this one.
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TOM
VEK - IF YOU WANT: A quirky favourite among the Xfm fraternity,
Tom Vek is described as an artist who provides angular punk-funk
in a laidback, laconic style. Featuring plenty of acerbic wit,
and a driving bassline that Level 42 would be proud of, the track
is enjoyable in spite of its limitations, and should help Vek
to justify his emerging reputation as one of London's hottest
new artists. The lyrics, especially, possess an underlying sense
of sarcasm that makes them all the more notable, while Vek's style
is fast becoming unique as well. It remains to be seen whether
the potential displayed in this single, and the critically-acclaimed
debut album, manifests itself into a greater experience in 2005
- for Vek is only just beginning to generate the sort of attention
that many of his reviews suggest he should be getting.
KAISER
CHIEFS – I PREDICT A RIOT: Leeds-based rockers,
Kaiser Chiefs, follow-up the success of their debut single,
Oh My God, with another slice of punk-infused art-pop that
looks set to have people talking about them in the same breath
as Razorlight and Franz Ferdinand. Championed by Xfm’s Claire
Sturgess, the track is a fiery, edgy blend of feel-good verses,
and punk-rock choruses, which become more and more catchy each
time you listen to it. Produced by Blur’s Stephen Street,
this has some fairly heavyweight backing and looks set to place
Kaiser Chiefs among the hot tips for bigger success in 2005.
SchwaB
- NO BALLS: After two years of live shows, including
headlining at the Rough Trade Saturday sessions, and touring with
Scott 4 and opening for Zodiac Mindwarp, SchwaB now feel the time
is right to go it alone - and this energetic third single, which
was apparently inspired by a bar room sparring match between lead
singer, PJ Austin, and a famously aged 70s rocker on the relevance
of contemporary rock and roll, strongly suggests a bright future.
The band describes their particular brand of rock 'n' roll as
swamptronic - a pounding electric soup of big rock party music.
And the vibe is a good one. No Balls contains the 80s-tinged
swagger of a lot of punk-rock bands, including New York's StellaStarr*,
albeit with a funkier vibe, while bonus track, Burning Skull,
hints at beat-driven John Spencer Blues Explosion, thanks to its
jagged, Seventies-style riffs and bluesy vocals. Contrary to the
name of the track, it would seem that SchwaB have plenty of balls
and aren't afraid to flaunt them. Listeners have every reason
to feel excited.
DEATH
FROM ABOVE 1979 - ROMANTIC RIGHTS: The scuzzed-up, no-nonsense
noise of Death From Above 1979 (formerly Death From Above) returns
with the first single proper, Romantic Rights. Just like
the limited edition picture disc single, Blood On Our Hands,
Romantic Rights takes no prisoners, getting under your
skin in a completely unflinching manner and refusing to let go.
Featuring typically edgy rock 'n' roll vocals, and all the drum
and bass you could wish for, Romantic Rights is an unapologetically
loud statement of intent from a Toronto two-piece who have officially
declared war on tedium. It's speaker-bursting, intense and designed
to be played loud - but as accomplished as it may be, there is
something strangely cold and unsatsifying about it. Expect some
similarly loud content from the forthcoming long-player, You're
A Woman, I'm A Machine, which is on its way soon.
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RASMUS
- FIRST DAY OF MY LIFE: Finland-based Goth rockers, The
Rasmus, release the opening track of their successful album, Dead
Letters, which has already spawned the singles In The
Shadows and Guilty. And what can we say except that
you should expect more of the same. First Day of My Life
is anthemic, chest-pounding, yet distinctly European-flavoured,
sounding like a contemporary equivalent of previous Euro-rockers
such as Europe. And while the guitar work is good, the vocals
somehow fail to measure up to the hardness contained in the music.
The Capital FM crowd will probably warm to it, especially given
the success of the previous singles, but it's a fairly mainstream
rock experience and one which fails to reach the epic quality
it so clearly is striving to achieve.
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BRITNEY
SPEARS - MY PEROGATIVE: Cover versions are always mixed
blessings. It takes a good band to make them work, and put a different
spin on them. Britney Spears, however, attempts to reinvigorate
Bobby Brown's smash hit, My Perogative, simply by putting
her trademark sexy vocals over the top of them and appearing in
her video in various forms of undress. Now that's ok for the FHM
brigade, but you can't really take the track seriously, especially
since it's supposed to be a commentary on the press intrusions
into her life, and how she should be allowed to get on with things
herself. Nice underwear, nice bed shots, shame about the music.
It's just the latest soft-porn romp in the ongoing Britney catalogue
which also serves to herald the arrival of the imminent greatest
hits compilation (has she had that many already?).
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review
MISSY
ELLIOTT AND CHRISTINA AGUILERA - CAR WASH: The second
collaboration between pop princess, Christina Aguilera, and hip-hop
girl of the moment, Missy Elliott (following the chart success
of Lady Marmalade) is a funky re-working of the Rose
Royce disco classic, which is taken from the soundtrack to the
film, Shark Tale. Yet, like the film, it feels a little
too slick, a little too polished and a little too trendy to be
really worthy of praise. The record producers probably knew a
good thing when they saw it, as nothing is going to stop this
from becoming another splash hit, but there is also something
lazy in pairing two divas and giving them nothing more than covers
to perform. Strictly for the kids, or anyone who wants something
to remember from the movie.
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the soundtrack
ELTON
JOHN - ALL THAT I'M ALLOWED (I'M THANKFUL): Elton John
reunites with long-time collaborator, Bernie Taupin, for another
piano-driven ballad that has become his trademark and it's fair
to say, this is the single your mother will want come Christmas.
Taken from the forthcoming album, Peach Tree Road, the
track is undeniably Elton in style, even though it's supposed
to have been heavily influenced by the sounds of the American
Deep South, which I couldn't quite see. That said, it lacks the
verve of his early years, rendering it a somewhat hum-drum affair
that isn't really likely to bring any new fans to his material.
But then when the formula has worked as well as it has for so
many years, why change it, I suppose? I'm, personally, just thankful
the record is mercifully short.
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review
MICHAEL
GRAY - WEEKEND: You have to wonder how increasingly desperate
the state of modern dance music - and a lot of mainstream music
in general - is becoming in its bid to sell records to the undemanding
masses. Take former number one, Eric Prydz's turgid dance makeover
of Call On Me, which featured a gym full of busty women
in its video to get the male testosterone flowing. There's nothing
remotely original in the track, itself, which feels like a blatant
attempt to cash-in quickly. Now step forward Michael Gray, with
Weekend, another soulless dance anthem that boasts a
semi-clad office worker gyrating around a chest of drawers in
its video. The woman is hot, as are the friends who join her for
some more striptease action late on, but it fails to mask the
total lack of quality in the track, which is geared towards the
Ibiza crowd only. Come on people, don't be shallow or conned.
Watch the video, if you must, but let's not encourage this sort
of thing - it only makes it harder for bands of genuine worth
to get a look in.
Ministry of Sound:
Annual 2005
WET
WET WET - ALL I WANT: The approach to Christmas can be
a depressing time for a music journalist. The album chart is populated
by best of albums, or collections of tracks from a number of particular
genres, while the singles domain is rife with easy listening nausea-inducers,
which all have their eye on the number one. There is the odd tropicana
in this desert of mediocrity (step forward U2), but for the most
part, it's downright depressing. Step forward, then, Wet Wet Wet,
the self-confessed 'housewives' favourites' who have reformed
for.... well, I don't know really. All I Want is a typically
drippy ballad, during which you can practically envisage Marti
Pellow's smiling face as he gazes longingly at the microphone
(or the housewife). It's the sort of music that's made for a Working
Title romantic comedy - you know, the sort of montage bit, where
the young lovers fall in love and frolic around the capital's
sun-drenched locations. If you like the sound of that, then you
shouldn't really be reading this.
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