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Rihanna – Rated R, Review

Rihanna Rated R (3/5) There comes a time in every pop artist’s career when people start to focus more on the tabloid aspects of their private life and less on their music. For Rihanna, this was the case earlier this year after a very public assault by her then boyfriend Chris Brown prior to the Grammy Awards. For a time it appeared as though the controversy would engulf both of their careers, but Rihanna has since started to put it all behind her and put her energy into creating music. Rated R will never be completely free from the shadow of those events, and various lyrical references – though oblique at the best of times – could be interpreted to fit the paradigm of ‘vengeful woman’. What is quite clear from the outset, however, is that Rated R is full of anger and vitriol, though neither is directed overtly at the man the baying media have pinned up on a dartboard on her behalf.



Fans of Rihanna’s hugely successful Good Girl Gone Bad may find themselves at a loss with the abrasive R&B on offer here as the pop palette and finely crafted melodies of her previous album are replaced by hard-edged beats, pulsating bass, cold synths and sneering vocals. Rihanna had originally wanted to adopt a rockier sound for Rated R, making the kind of R&B to rock transition P!nk managed on her breakout album Missundaztood, but when record execs had a collective aneurysm over her decision to work with Paramore and Nuno Bettencourt from Extreme, things headed towards an edgy R&B sound. Still, for all intents and purposes, Rated R is a rock album sans (for the most part) guitars. But on songs like ‘Rockstar 101′, with its dull refrain of “I’m a rockstar /…big city, white lights / sleep all day, up all night”, Rihanna simply comes across as a try-hard, attempting to convince herself more than the listener of this dubious position.


What is perhaps most disturbing about Rated R is Rihanna’s sudden predilection for violence and guns, which seems vastly inappropriate considering she’s a victim of violence herself. Songs like first single ‘Russian Roulette’, a rather over-cooked R&B ballad with lyrics like “If you play, you play for keeps / take a gun and count to three”, and ‘G4L (Gangster For Life)’ have the singer posturing as a renegade and, most worryingly, irresponsibly glamorising gang culture. Elsewhere, the stuttering ‘Wait Your Turn’ boasts “I pitch with a grenade / swing away if you’re feeling brave / there’s so much power in my name” with the same streak of hard heartedness, displaying Rihanna’s supercilious vocals at their worst. Even ‘Hard’ – perhaps one of the best tracks on the album with its Jackson Five ‘Can You Feel It?’ sample – is full of boastful lyrics about being famous and invincible over bombastic beats and bass, ultimately sounding rather unconvincing and needlessly confrontational.



The ballads are usually Rihanna’s forte, but even here the attempts at emotion seem artificial. ‘Stupid In Love’ perhaps contains the most direct references to her relationship with Brown, but it lacks any real feeling. ‘Fire Bomb’ has a similarly nauseating effect, with a chorus melody that sounds as though it was composed on a vacuum cleaner. Will.i.am’s guest spot on ‘Photographs’ proves that The Black Eyed Peas are only capable of writing one song and constantly rehashing it. It’s only on the StarGate-produced “Rude Boy’ that we finally get a taste of the Rihanna of old, an electro-R&B romp full of juddering synths and one of the album’s most infectious choruses, while the Justin Timberlake co-write ‘Cold Case Love’ finally delivers on the ballad front, with a strong melodic structure and wonderfully understated arrangement.

Had more of the material on Rated R been crafted by such hands then Rihanna would have a follow-up album worthy of the same success as Good Girl Gone Bad. Reinventing one’s sound is always a creative risk; for Rihanna, the pay off is compromised as the pop sensibility that once adorned her music becomes conspicuous by its absence. Rated R is no dud by any means – there are enough strong songs to continue her streak of hits – but it may well be that she has painted herself into a sonic corner that she will have great difficulty stepping out of.

Official Website of Rihanna

Buy Rihanna – Rated R

Review written for and originally posted on Wears the Trousers.

Adam Lambert – For Your Entertainment

Adam Lambert For Your Entertainment (3.5/5) When Kris Allen won the eighth season of American Idol, he must have thought that success was his inalienable right. He had vanquished the almost unstoppable juggernaut in runner-up Adam Lambert, won a record contract, and had been set-up for the kind of success enjoyed by fellow winners Kelly Clarkson, Jordin Sparks, and Carrie Underwood. Unfortunately for him, the battle did not end with the close of the competition. Despite a valiant attempt writing and co-producing his major label debut album, Kris Allen didn’t even scrape the top ten of the album charts, selling a rather paltry eighty thousand in its first week sales. Adam Lambert on the other hand, who has rarely been out of the headlines and who can boast a roster of top-notch talent on his own debut album, has sold more than twice the amount of his rival, and is on course for the third spot on the Billboard 200, held off the number one only by unprecedented interest in two of the most talked about women of 2009 – Susan Boyle and Lady GaGa. Could it be that America didn’t have the balls to vote for the right winner who, though not out at the time, was clearly gay?



For it is Lambert who has sky rocketed into a completely different stratosphere than Allen, especially after his recent ‘controversial’ (in oh-so-ironic quotation marks) performance at the American Music Awards in which he simulated oral sex and – oh no he didn’t – kissed another man. His profile is so high that no other contestant – winner or not – has had such international media interest so early on in their career. It took a while for Kelly Clarkson to establish herself in the states before she had a hit elsewhere, and Carrie Underwood is still relatively unknown outside of the US. A lot of the media interest seems to be generated from his being the first ‘out’ popstar in the US, but that discredits both his talent as a singer (the boy has both power and range, even if they aren’t always well applied), his outlandish style, and his confrontational and intelligent personality. I guess meek Arkansas boy Kris Allen didn’t really stand much of a chance with his polite and pleasant pop music.


Everything about For Your Entertainment has been brilliantly orchestrated. Whether you like the front cover or not (personally I love the eighties revival – just not all the tackiness that marked the decade which this cover reminds me of) it managed to set the blogosphere on fire with impassioned debate. Was it for real? Is it – gasp – too gay? Could it all be a publicity stunt? It’s only when you listen to the record that it starts to make some sense – this is an over the top, camp, bombastic piece of pop opera of the Freddie Mercury variety. That fact is evident from the outset, with album opener Music Again sounding like a Queen pastiche. Not a surprise, considering it is written by Justin Hawkins of novelty band and Queen sound-alike ‘The Darkness’. Produced, as are several of the songs on here, by Rob Cavallo (producer of records by Green Day, My Chemical Romance, Paramore, and Avril Lavigne) it is a stadium sized number that is unabashedly eighties poodle rock with a huge chorus hook, which simultaneously invents a new pointless word for the dictionary – ‘better-er’.



Most of the album maintains the verve and energy of this first track; debut single For Your Entertainment apes the synth-syncopation of Sam Sparro’s superior Black and Gold courtesy of Dr Luke, but the relentlessness of the chorus and delivery mean it is a decent stab at electro-pop. Lyrically it is all sexual aggression bordering on date rape, but that seems to be completely admissible in pop these days (blame Madonna’s Justify My Love). Whatya Want From Me is one of those darkly passionate rock ballads P!nk manages to carve out for all of her albums, and it is a surprise that she would part with a song of this quality for someone else’s album (which goes to show what a generous songwriter she is). With its electric guitar licks and pleading vocals, it is an obvious future single and highlight of the album.



There are other significant songwriting contributions which add gravitas to proceedings. Matthew Bellamy of Muse has given an unreleased demo, which is another great moment on the album and is one of Lambert’s best vocal performances. All elegant melodic phrasing and bombastic production  – again by Cavallo – it could be another big hit single. Linda Perry contributes her song A Loaded Smile, a laid back electro-ballad with William Orbit like bleeps and sonic belches, live drums (how pleasant to hear non-programmed drums on a record again) and full bass. Lambert restrains his voice on this song and proves that he is a good singer (whereas on so much of this record he too often resorts to a falsetto shrieking that would even make Axl Rose wince). Lady GaGa contributes a song called Fever which is surprisingly un-GaGa like, sounding a lot more like a Jake Shears cast-off from an old Scissor Sisters’ album. Having said that, it’s unnervingly catchy and Lambert sounds like he is having great fun.



Ryan Tedder is the main songwriter behind the ballad Sleepwalker which owes a great debt to the reverse synth loops of Moby’s Porcelain. Again, Lambert shows considerable restraint on this song and allows the melody to do all the work. There are also some fun moments in the Max Martin written and produced If I Had You, the type of Kelly Clarkson anthem is renowned for, and is a wonderful slice of electro-pop amongst all the electric guitars. Sure Fire Winners, like Music Again, could have come from the pen of Freddie Mercury but this time the comparison is genuinely justified. Sounding like a modern-day We Are the Champions, this Rob Cavallo number has an almost demonic guitar riff and one of the most memorable choruses of the album. It stands up well against the rest of the rockier material on here.



The songs that feature Lambert as a co-writer are considerably weaker, and it proves he still has a lot to learn before he can be trusted with an album of his own material (he would no doubt wish to avoid a My December-like disaster that blighted the career of fellow American Idol cohort Kelly Clarkson). Songs such as Strut, for instance, doesn’t exactly strut anywhere and is in dire need of a chorus, the Rivers Cuomo (Weezer) collaboration, Pick You Up, builds up with a great verse and bridge but the chorus is a little flat, the rather awful Aftermath drones on with horribly screechy vocals, and the rather wan album closer Broken is a little vague and nebulous. They all sound a little more like filler up against the quality of the material from established songwriters. But these songs are not enough to sink the album, and as a whole For Your Entertainment amounts to a fairly impressive debut. What it does show is that Cowell’s team aren’t completely risk-averse and have enabled Lambert to produce the kind of album that is completely representative of the kind of artist he wants to become. I think we might have our first bona-fide male solo superstar this side of the millennium.


Official Website of Adam Lambert

Borders Bookshop Goes Into Administration

BordersVery sad news this morning – one of my favourite bookshops, Borders UK, has gone into administration. Although they are currently looking for a buyer, it is likely that Borders will disappear from our highstreet for good – much like Woolworths. Though I am a fan of small independent bookshops, and always try to buy from them when I can, I also very much love the Borders chain, especially the store in Oxford. It is one of the biggest of its kind, and it is just such a great place to browse, find a comfortable corner and sit and read. There is a great cafe to buy a pastry and a coffee, and downstairs they have a large DVD and music section (in which I have spent a lot of money over the years). One of the best aspects about it is the large stationary section they have – any geek who loves nicely bound note pads and lovely writing sets and pens feels at home there. It has been in Oxford as long as I have, so to see it go would be a real travesty. Although admittedly I order books online (because they are often much cheaper) which has helped in its demise, I would happily start spending money there to help keep it afloat. The hope is that, much like Whittards, some stores manage to stay open. Oxford must be one them – shall I start a petition?

News source: BBC Online

Pumping Velvet: The Self-Portrait of Dustin Robertson, Review

Pumping Velvet Dustin Robertson’s Pumping Velvet (2009) has had a long and troubled history. Having taken the auteur five years to complete, it has become both a labour of love and a symbol of liberation. Having had a very limited release in 2004 to various small film festivals, Robertson then distributed the film on DVD in 2005. Very few copies of this rough cut are available and the filmmaker very much prefers it this way. Having spent the interim years re-editing his film, he has now launched it in its final form on his website as a free download. Perhaps a sign of wanting to move forward with a unique way of film distribution or perhaps acknowledging that the moment may have past for this kind of film, it is still however exciting for audiences to see Pumping Velvet as the director intended it.



Although Robertson would perhaps prefer it if those who watched the earlier version wiped it from their memory, it is incredibly difficult to watch this new version with a new set of eyes and not compare the two. Indeed, the comparisons are favourable. Pumping Velvet 2009 is much improved in terms of pacing, structure, and storytelling. Many of the distractions and digressions of the earlier film have gone, and the focus is solely on telling Robertson’s story. Much of that can be gleaned from my reviews of the earlier version of the film (part one and part two) which much remains the same – Robertson’s transition from gay teenager in American suburbia to the pursuit of an imagistic immortality, the turning of oneself into a piece of physical art or an icon – a symbol of self-reinvention and self-celebration, or as Roberston calls it Aviddiva, his persona imago.


Much meat has been stripped off the bone and the film benefits from a much shorter running time, though I did miss the narration of the first film and the footage of Robertson talking to the camera about his earliest experiences as a child. This footage is almost completely removed so that short descriptors and animations are backed entirely by music, giving the first half of the film a certain detachment while at the same time feeling more like an extended music video – a medium Robertson is very comfortable in having edited many high profile music videos (which are featured towards the end of Pumping Velvet). There are also personal tributes to his sister that were very moving in the first version that perhaps should have been included here as this is an important moment in Robertson’s life.



These are however minor gripes, and Pumping Velvet works much better as a narrative by such ruthless editing. The narrative arc is much stronger as a result, tying together a film that is very much a cinematic decoupage like its only other contemporary, Jonathan Caouette’s stunning Tarnation (2003). Like the latter film, Robertson ties together old and new footage of himself and uses music to tie the story together. Where Caouette’s bleak and moving film is both a self-portrait of himself and his family, Robertson focuses on his own transition and the telling of his own story. Pumping Velvet doesn’t possess the astonishing amount of footage, audio, and photographs that Caouette utilises brilliantly to create a very definite psychedelic style, but then Pumping Velvet is a much more polished affair.

The influence of both films is obvious when we consider the YouTube generation who are making similar video documents of their lives, the immediate example that springs to mind would be Chris Crocker who has his own very unique if slightly bizarre story to tell. It’s a shame that Pumping Velvet hasn’t been given the profile and audience it deserves, though in time it may well come to be considered a cult gay classic. It is an important documentary not just of a young man’s life, but also what it meant to live during this time and what it meant to be a gay man in this still largely homophobic era. Whatever happens, Robertson can relax in the knowledge that he has made his mark, and perhaps also made his peace with a film that is testament to his contradictory self.

Read Dustin Robertson’s blog response to this review cleverly disguised as an ‘interview’.


Download the movie



Read my previous review of an early version of the film – Part One and Part Two.

Trailer

PUMPING VELVET MOVIE TRAILER from Dustin Robertson on Vimeo

Will Young – Live at the Liverpool Empire, Review

Will Young - Liverpool Empire Will Young – Tour 2009, Friday 20 November, 2009



Will Young is by now one of the stalwarts of the new ‘music reality TV’ generation, having the advantage of winning one of the first competitions of its kind – Pop Idol in 2002 – and then managing to sustain a long and successful career ever since, something every winner of The X-Factor is equally desperate to emulate. He has proved himself to be a decent songwriter over the years, each album more finely crafted than the last as lessons are learnt and hastily adopted styles are pushed aside. He also has the personality and intelligence that has kept his profile unsullied, having aligned himself with only quality projects. But the real secret of his success seems to be that he is a great live performer (Leona Lewis take note) having toured consistently throughout his career. It is this talent for performance and a penchant for regularly touring that has slowly built up his fanbase and allowed him to continue releasing the kind of music that he wants to make.



His current tour is specifically designed to promote his new greatest hits package released last week, though do not be fooled into thinking that this is a greatest hits tour. Many of his lesser known songs get an airing and deservedly too, as they show off the quality of the material that features on many of his albums. Proceedings kick of with Switch It On – a song that owes a lot to George Michael’s Faith – and is exactly the kind of uptempo anthem the Liverpool audience had been craving for as the whole of the Empire Theatre erupted with screams. The momentum was maintained with more crowd pleasers – Your Game, Changes, and a clubbier-sounding Tell me the Worst which sounded deliciously revitalised under the auspices of the backing band and singers. There were some slightly dodgy moments along the way – the somewhat ill-advised Light My Fire throw-back to his Pop Idol days and the insipid ballad You and I  – but these do not blight proceedings. 


Rousing versions of Leave Right Now, Who Am I, Friday’s Child, and All Time Love illustrated just how good a vocalist Young is – strong and bluesy – which surprisingly doesn’t always come off so well in the studio where it can sometimes appear a little bleating and reedy. On stage he had no problem at all belting out the ballads or giving little jazzy flourishes to certain musical phrases. He also proved himself to be quite a showman and raconteur, keeping the audience highly amused with anecdotes about his day and interacting with some of the more frenzied fans on the front row. Admirable cover versions of Tears for Fears’ Everybody Wants to Rule and The Box Tops’ The Letter illustrated his great taste in music and an innate ability to make any song his own (a talent that helped him win Pop Idol). 



It was somewhat unexpected that he ended the performance on Evergreen, considering that I speculated recently that such lines as “you’re the only girl that I need/because you are more beautiful than I have seen” were somewhat beyond the pale, though Young delivered without any irony – perhaps a nod to how grateful he is to Pop Idol for giving him his break. Needless to say, it wasn’t enough to mar proceedings, and despite a ballad-heavy programme the concert certainly showcased his considerable talents. Perhaps it is at this point in his career that he is taking stock and evaluating the music he has already made and ruminating on the type of music he will make in the future, but one thing is for sure – there will always be a faithful audience waiting to hear it.


Read my review of Will Young – The Hits

Official Website of Will Young

View my videos taken from Will Young’s performance:

Tell Me the Worst

All Time Love

Falling in Love

The Letter / Evergreen

Lady GaGa – The Fame Monster, Review

Lady GaGa The Fame Monster (5/5) Let it be recorded in the pop annals that 2009 was the year of Lady GaGa. Not just in terms of record sales or exposure, but also in how she defined the spirit of the age and influenced other contemporary artists in a way that has been unparalleled. Years from now people will look in wonderment at her outrageous style, proclivity for taking off her clothes, her overtly sexual lyrics, her genius for pop melody, and attempt to fit her chronologically within a lineage of similar pop art icons – David Bowie, Andy Warhol, Grace Jones, Edie Sedgwick, Debbie Harry, Freddie Mercury, and Madonna. Like them she has fashioned in a new age and has become the crowning glory of women’s reclamation of pop that has occurred over the past three years since the quagmire of landfill indie we have endured for most of the decade. She is the new Queen of Pop, having usurped Madonna, Kylie, Goldfrapp and Britney in the process.



Her new album The Fame Monster is hard to categorise as a release. Is it an extended EP? Is it a sophomore album? Is it a ploy to reinvigorate her debut, The Fame? Is it just another special edition? The infuriating thing is that it is all of these; the deluxe edition includes her debut – The Fame – released in the UK in January as well as a second CD containing eight new songs. This second CD however is being released in a single disc edition, so it isn’t the easiest album to classify. What it does represent is a certain prolificacy in a song-writer hungry for creation and desperate to get her ideas out. Rather than waiting for record company schedules – who probably would like another six months to flog The Fame before they give up on it – GaGa has managed to keep them happy whilst at the same time getting some new music out there. Stroke of genius? Absolutely – because it is increasingly becoming clear that albums can be revitalised by new material such as Rihanna’s Good Girl Gone Bad Reloaded and Beyoncé’s I Am… Sasha Fierce – Platinum Edition. Gone are the flaky ‘demos’ and House remixes that once constituted bonus material, and hello fully fledged singles.


And that is what is truly astonishing about the eight new songs that constitute the second CD – they are not throwaway album filler that didn’t make it first time around. GaGa has outdone the songs on her debut (making them in retrospect rather dated, despite being only a year old) with songs that up the ante both in terms of songwriting and production. First single Bad Romance is without doubt one of the songs of the year, setting the bar very high with its power synths, chunky beats, and unbeatable refrain: “Rah-rah-ah-ah-ah-ah, Roma-roma-mamaa, Ga-Ga-ooh-la-la”. The lyrics are typically ridiculous – “I want your psycho/Your vertigo stick/Want you in my rear window/Baby you’re sick” – but then what GaGa has always represented is a return to the ridiculous and the absurd in pop, which is perhaps why fans in the UK love her so much. We have a preference for nonsense and eccentricity in our pop stars. Second track Alejandro manages to sound like GaGa imitating Ace of Base imitating ABBA with its Trance Reggae sound (is that even a genre?). Despite the faux-Spanish accent of the intro, the song benefits from GaGa’s way with a melody line and RedOne’s ultra-modern splicing of sonic palettes.



Monster, produced by RedOne and Space Cowboy, marries eighties synth-pads and electronic drum rolls with nineties rave synths, but also has one eye on futuristic R&B. With its simple hook and refrain of “he ate my heart” it is one of the album’s many triumphs. Speechless is perhaps GaGa’s most obvious paean to her idol – David Bowie – with its seventies, expansive sound – all tight vocal ‘ooohs’ and ‘aaahs’ in harmony, pianos, shimmering strings, and electric guitars. It is one of her most accomplished ballads very much in the vein of Brown Eyes and Again Again from her debut. Dance in the Dark is all stuttering vocals, New Romantic synths, Erasure/Pet Shop Boys pretensions, and eighties power choruses. One of its greatest moments is the spoken rap interlude calling to mind Madonna’s Vogue but more a paean to tragedy queens rather than the old Hollywood glamour of Madonna’s anthem, a role call featuring the likes of Sylvia Plath, Marilyn Monroe, Judy Garland, and Princess Diana. By aligning herself with these women she casts the narrator as a woman who is attracted to abusive relationships that end in tragedy, making the song dark and brooding.



One of the most sonically insane tracks on the album is Telephone, all synth-harps and vocal interference mimicking a mobile phone courtesy of Rodney ‘Darkchild’ Jerkins, before Trance beats slam in the effortless hook of the chorus. The cameo from Beyoncé comes over Salt’n’Pepa break beats before delivering a ‘hands in the air’ dance interlude. It is one of those divisive songs that will either enthral or annoy – there is no in between. So Happy I Could Die, despite its constant references to masturbation, is one the best songs on the album combining all of GaGa’s/RedOne’s best elements. Clunky beats underscore a synth-palette of bleeps and washes, as GaGa delivers one of her most heartfelt vocal performances. The slow build up of the verses bring in the gorgeous, melancholy vocal of the bridge that segues into a subdued chorus that takes up residence in the brain. It is wonderfully understated and despite not having the immediacy of other songs on the album, it is by far one of the best. The proceedings close with the abrasive funk of Teeth, perhaps the album’s most lyrically bizarre moment: "Take a bite of my bad girl meat/Take a bit of me boy/Show me your teeth". That said, Teeth is all sassy brass, husky spoken vocals, and jazzy 1920’s harmonies. It is the kind of sonic risk we have come to expect.



The fact that we have already had one album from Lady GaGa this year makes The Fame Monster even more impressive. At eight songs, it is lean and devoid of any of the filler that blighted parts of The Fame (Boys Boys Boys and Starstruck anyone?) and has also raised the bar in terms of the songwriting and sonic insanity we have come to love her for. Where she goes from here is anybody’s guess – she may have raised the bar so high not even she can jump it – but without a doubt she is the most original and fiercely modern of pop artists out there at the moment, and whether she is considered absurd or ridiculous, she is a refreshing change to all those artists who take no risks in their art or their style. Vive la GaGa.


Download: So Happy I Could Die, Bad Romance, Dance in the Dark



Official Website of Lady GaGa



Read my Review of Lady GaGa – The Fame.

 

I Love Liverpool

Liverpool Liverpool is without doubt one of my favourite cities in the world. I am perhaps biased in this as I have a long-running relationship with the city. My father was born and raised there as well as my grandmother and uncles and aunts on my father’s side. I visited the city many times when I was young – to the Albert Docks or to see the ships and ferries on the River Mersey, or to walk by the Liver Building and along the river’s promenade – I had an affinity with the city from very young and knew its every smell and sound. When I was fourteen and starting to become restless with the small town I lived in I joined a youth initiative with the Tate Gallery Liverpool. It was a project called Young Tate and from fourteen to eighteen I visited the gallery on a weekly basis. Some of my formative experiences were had during this time – going to clubs like Heebee Jeebees and Le Bateau and getting drunk for the first time, being surrounded by other arty and angsty teenagers with the project and having my nose pierced.

By the time I applied to go to university there seemed like no other place than the city I had become so fond of. I was one of the few in my sixth form who knew instinctively what I wanted to study – the infamous English Literature degree – and where to study it – Liverpool. Granted it isn’t terribly far from where my parents lived (a twenty-five minute train journey home) but it is such a huge city that a young person living away for the first time can feel like they are as far away as London. Indeed, I went home about as regularly as friends who lived as far afield as Bristol and Brighton. My three years at university were some of the happiest and also some of the most intense of my life. Being away from home for the first time, studying at a different intellectual level, coming out, meeting many new people and my first boyfriend made it thrilling but also confusing too. The city was a vivid backdrop to a period of great change and extremity.

Going back now it is always an experience full of nostalgia and intense feeling. The city itself has undergone major change in the last ten years, especially since it won the Capital of Culture and had a sudden influx of investment. Despite these changes, much of Liverpool remains the same – the people, the spectacular architecture, the atmosphere, and the culture. It is so vibrant and there is the kind of electricity and possibility in the air that many major cities possess. One things I miss most about the city is the wonderful night life there – something Oxford just does not have. The many bars and clubs mean that people who actually enjoy music have many different options than the kind of R&B trash clubs in Oxford tend to play. There are many theatres and cinemas in Liverpool, great shopping and vintage stores, and there are two major galleries – the Tate and the Walker. It has pretty much everything you want. I often think that one day I will go back there, when I have finally grown tired of Oxford. I don’t know if it will ever happen, but the tie is too strong for me to be completely cut off from it – my heart will always be there.

Visit Liverpool Website

Will Young – The Hits, Review

Will Young- The Hits (4/5) There comes a time in every pop artist’s career when they must face the obligatory – nay contractual – greatest hits album. For some it is a shameless way of selling their back catalogue when they are but a fledgling artist. For others it is cathartic and allows them to take stock, assess their past, and move on. For Will Young it is probably a case of both but it is also undoubtedly a celebration of the fact that he has made it this far in his career. That is not to discredit his talent, but more a statement about his being possibly the only act – apart from Girls Aloud whose The Sound of Girls Aloud was released in 2006 – to emerge from a reality TV contest and make it this far when many can’t get past the first single. The reality for ‘contestants’ who graduate from the likes of Pop Idol, Pop Stars the Rivals and The X-Factor is that despite initial success many of them slip into obscurity –Leon Jackson, Shayne Ward, Michelle McManus, Hearsay. Will Young made it this far because he took control of his career early – writing and executive-producing his last three albums – and through sheer dint of his personality and ability to diversify.



The rather unimaginatively titled ‘The Hits’ package straddles his entire career – four albums that have been both commercially successful and (apart from his debut) well-received by critics. It starts with the rather insipid love balladry of his weakest effort, From Now On (2002), which featured the cream of song writing – Cathy Dennis, Guy Chambers, Burt Bacharach, and Richard ‘Biff’ Stannard  – but not a single writing credit from Young himself. The rather awful Evergreen – the winner’s song from Pop Idol 2001 and his debut single – kicks off proceedings with the now lamentable lyrics “you’re the only girl that I need/because you are more beautiful than I have seen”. I am sure, considering he came out before his debut album did, that he doesn’t perform this song anymore. Although the rather limp cover of The Doors’ Light My Fire and the forgettable ballad You and I are included here, we are mercifully spared his duet with Gareth ‘Pop Idol Runner Up’ Gates – a duet of The Beatles’ The Long and Winding Road – and his absence couldn’t be more stark considering Gates’ career has gone into free fall while Young is still making music.


Forgetting the first three non-starters, the album finally delivers the platinum soul-pop we have come to expect from Young. Leave Right Now, taken from his critical smash Friday’s Child (2003), is the song that essentially put him on the map and it is still very much the kind of stately ballad he has perfected in songs such as All Time Love and Let It Go (though it is surprising that Young did not write any of these songs, mainly because they seem so personal and spring from his own experiences). What is notable on songs such as Your Game, Friday’s Child, Switch It On, and Changes is the sheer quality of the production and the melodic sturdiness of the songwriting. Over time the writing has become very well crafted, a fact proven by last year’s album Let It Go which received some of the best reviews of his career. These songs certainly amount to a solid body of work, and are also a sonic cartography of a gay man traversing the difficult path of his twenties and becoming more sanguine and hopeful now that he is turned thirty.



Lyrically Young’s writing centres around relationships (doesn’t all pop music these days?) but there is a little more gravitas to the lyric writing here, attesting to both Young’s intelligence and also his keenness to explore the less desirable aspects of relationships – the awful breakups, the sadness at not finding true love, the disappointments love has to offer, the anger at being spurned – all coupled with the complexities of being a modern gay man in a modern heterosexual world. These are very much the preoccupations of two new original compositions – the eighties gospel pop of Hopes and Fears and the gentle If it Hadn’t Been For Love – thus chiming with the kind of melancholy edged pop of his eighties forebears – Boy George, Morrissey, Marc Almond, and George Michael. What’s missing – well, sometimes the songs have too often been cut from the same sonic cloth, and there is a surprising lack of uptempo music amongst this collection – but these are small gripes, the latter to be rectified with his follow-up album which will have a much clubbier feel, with the likes of Groove Armada and Calvin Harris on board. And why not change the tempo, when this album marks the close of a chapter both in music and in life.


Download: Let It Go, Leave Right Now, Switch It On



Official Website of Will Young

Buy Will Young – The Hits

Leona Lewis – Echo, Review

Leona Lewis Echo (4/5) It probably isn’t a coincidence that Leona Lewis’s second album, Echo, is being released in the middle of the latest series of The X-Factor, it being the platform that launched her career. She is also the last third of the X-Factor ‘diva troika’ to release an album, coming as it does off the heels of last year’s winner Alexandra Burke and her debut Overcome and the highly anticipated solo album from one of the show’s judges – Cheryl Cole’s 3 Words. One could be forgiven for thinking that Lewis’s album launch might be a little anticlimatic after the success of both Burke and Cole, having both secured number one singles and albums. Having said that, the former X-Factor winner has one thing neither possess – the Voice. For all Burke’s vocal blasting and Cheryl’s wheeze, neither of them get close to the splendour that is Lewis’s supple voice – a powerful instrument which she controls beautifully. Couple that with an extremely photogenic face and a sanguine, pleasant personality, she has become one of the UK’s brightest stars having achieved the holy grail of pop – success in America. The signs for Echo certainly look good.



Her sophomore album is a far more sturdy, cohesive affair than the ballad-heavy and somewhat patchy Spirit (2007). The power-ballads remain, but unlike Spirit there is more a more modern, organic, uptempo feel to Echo that will help break the stereotype of Lewis as a fragile, wailing balladeer. Things kick off brilliantly with the OneRepublic penned Happy – a song perhaps uncomfortably close sonically to her biggest hit Bleeding Love (also by Ryan Tedder’s OneRepublic) – but this is a more lyrically complicated affair. “I could stand by the side, and watch this life pass me by/So unhappy, but safe as could be” she sings as the chorus affirms her desire to feel pain and take risks if it eventually leads to happiness. It suggests there might be something slightly darker lurking under that wholesome pristine façade.  Lush synth strings and piano sweep under her voice before the big drums and backing vocals lead into the ‘huge chorus’, a template of quiet piano-led verse with stadium-sized chorus underpinned by drums used again and again across the entire album.

 


Second track I Got You is perhaps one of the strongest on the album, with its shimmering guitars, hiccupping beats and hyperventilating chorus which contains one of Lewis’s best vocal performances. The expansive beats (which appear throughout, adding to the large, organic sound implied by the album’s title) and wide open arrangements suggest that far more time has been spent arranging and producing this album than her previous effort. Can’t Breathe is at first one of those negligible tracks, but the delightful falsetto chorus and sparse synth arrangements certainly grow on the listener, even though Lewis sounds like Mariah Carey at times (I suppose the backhanded compliment is in the fact that at least she has the range to even attempt such a feat). Brave arrives on a bed of Persian-sounding strings and beats, with lush melodies arriving at yet another ‘big chorus’. One of several songs that Lewis co-wrote, it is again lyrically ambivalent, as Lewis laments her own lack of strength when it comes to matters of the heart. The fact of her writing contributions also marks her out from her X-Factor contemporaries, as neither Alexandra Burke nor Cheryl Cole wrote a single note or lyric for their albums.



Outta My Head plunges the listener into a sonic world that is alien and unfamiliar on a Leona Lewis album – an electro-pop dance anthem, offering a sudden modernity that her stuffy first album lacked (whose songs were cherry-picked by two men over fifty – Simon Cowell and Clive Davis) which suggests that she has taken charge. This Max Martin produced song sounds at first like throwaway album filler, but despite the slightly limp chorus, the bridge – with its speeded-up voices – is fiercely contemporary, sounding like a Britney Spears album track. Things tend to sag a little in the middle of the album, with a quintet of mediocre pop fare – My Hands (sounding a little too Bleeding Love with its organ intro) is a decent ballad with a call-and-response chorus that’s just a little irritating. Guitar-driven Love Letter sounds at times like Black Eyed Peas I Got A Feeling, before moving to a forgettable M.O.R. chorus. Broken, co-written and produced with US songwriting stalwart John Shanks is a little two predictable with its stadium-rock chorus and gospel choir. Naked, perhaps the weakest song on the album, follows the guitar-pop template, sounding as it does like a contemporary Backstreet Boys song (courtesy of co-writer Kristian Lundin).



The album picks up towards the end, with a shimmering cover of Oasis’s Stop Crying Your Heart Out – perhaps one of the most-restrained songs on the album vocally – which unfortunately only highlights the weakness of the material of the proceeding four songs. Although nowhere near capturing the magic of her previous cover of Snow Patrol’s Run, it is a fairly leftfield choice of song and Lewis does it justice here (it also shows what a brilliant songwriter Noel gallagher is). Don’t Let Me Down, her collaboration with Justin Timberlake, is one of the highlights of the album from a songwriting perspective but the slightly anachronistic and clunky R&B pretensions – sounding a bit like Brandy did in the nineties – let it down a little. It also features one of her most assured vocal performances making the most of Timberlake’s unmistakable melodies full of falsettos and tight harmonies. Timbaland (Timberlake’s usual collaborator) would have taken this into more adventurous and edgy sonic territory, though it would work just as well with Lewis and an acoustic guitar.



Alive is the type of ballad we would expect from Kelly Clarkson (courtesy of John Shanks) and sounds far more authentic than their earlier collaboration, Broken, with a huge swooping chorus and gorgeous strings. Lost and Found closes the album on a high, another OneRepublic collaboration (Ryan Tedder also contributes vocals this time) that benefits from Tedder’s knack for a memorable melody, even if it does re-use (again) the sonic template from Bleeding Love and Happy. Echo is an album that certainly takes a little time to get used to – its gems are not immediately obvious, and that’s to Lewis’s credit, having selected and crafted songs that don’t possess that immediacy that much disposable pop music has to have these days. It is someting of a creative risk, but one that will pay off in time as these songs are sturdy, classic, and built to last. It also proves that she is a singer and songwriter with staying power and a very much deserved winner of the X-Factor (it is quite likely she will be the biggest star of this kind of reality television in the UK). She has both the voice and the ability to craft decent pop songs, and posseses a certain class lacking in most of her contemporaries. In truth, Alexandra Burke and Cheryl Cole have nothing on her.

Download: I Got You, Don’t Let Me Down, Brave, Happy


Official Website of Leona Lewis

Buy Leona Lewis – Echo

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photo by: smallandround

Some things in my electronic collection box:

  1. Beaten to the Punchline by Germaine Greer: What’s holding women back in comedy?

  2. The Quiet Coup by Simon Johnson: Former chief economist of the International Monetary Fund says the finance industry has effectively captured the US government
  3. Who’s Buried in Cleopatra’s Tomb? by Stacy Schiff: Women, power and myth

  4. Born Believers: How your brain creates God by Michael Brooks: Is religious belief hardwired?

Read if you like.

Two things in my mental collection box:

  1. When colleagues/fellow students/friends are self-centred and emotionally greedy after a long day: I only accept compliments or presents after 10pm. (A student here gave me this to use in future and I like it.)

  2. When people ask you what you’re doing next and you have neither the answer nor the energy to come up with a grand plan to satisfy them (as you might have done at some earlier stage): I understand you need my certainty to make yourself feel reassured, but I just can’t provide you with that right now.

Use if you like.