Waiting for this Day to Come

Album Review: “ONLY HUMAN” – TOPLOADER
Underdogs Music
Released: 6th June 2011
www.toploaderofficial.com
http://www.underdogsonline.com/toploader
__________________

Nearly nine years after sophomore LP Magic Hotel unjustifiably bombed (oh how I love that album) and two years after the long-disbanded 'loader reunited for a series of festival gigs and intimate tour dates (one of which I reviewed HERE), 2011 sees the release of the Eastbourne band's loooooooong-awaited return to the recording studio.

Released on independent label Underdogs Music and written in its entirety by front-man (and current Popstar to Operastar contestant) Joseph Washbourne, Only Human is a bold and brave comeback, eschewing the pop frivolity of uber-popular chart-stormers “Dancing In The Moonlight”, “Just Hold On” and personal favourite “Time Of My Life” for a more mature and reflective indie edge. Just a week after release it's already a well-worn comparison, but there are shades of Coldplay in the production – just check out the ethereal opening to the wondrous “Closure”.

Darker and more solemn in tone does not mean there isn't enjoyment to be derived from Only Human's blissful souring melodies; lead single “Never Stop Wondering” and latest cut “A Balance To All Things” (due for release on 20th June) are still jaunty foot-tappers (rendering the bonus Ash Howe remix of the latter – which merely adds a speedier beat – somewhat redundant), but they are more narratively weighty than certain cheesy cover songs.

I'm going to sound like an overly-complimentary fanboy when I suggest there isn't a weak track on the 12 track set, but this really is a wholly amiable album which can quite easily be played from beginning to end without reaching for the skip button. Each track is a joy – even the prior mentioned remix, in spite of its questionable necessity, doesn't deviate so far from the original as to make it unbearably alien.

If I were pressed for favourites; away from the well selected singles I would draw attention to ruminative opener “Marrakech” which throbs with dusty atmosphere, the beautiful ballad “Paradise” which sounds huge despite its acoustic production, the sense of hope after heartbreak in the aforementioned “Closure”, and epic closer “Numb” which includes a catchy hook to sing- and clap-along to and a rocking guitar riff which will really get the crowd going at live dates. I'll definitely be there - just look for the nutter demanding "Time of My Life"!!


In a CR@B Shell: More “Achilles Heel” than “Dancing in the Moonlight” in tone, but Only Human is nevertheless a soulfully sweet summer soundtrack and all the more palatable for its stripped back honesty: this is the album Toploader always wanted to create. Welcome back lads!
aaaaa

Wiseman #Three

Album Review: “SOME KIND OF TROUBLE” – JAMES BLUNT
Atlantic/Custard
Released: 8th November 2011
www.jamesblunt.com
____________________

When an artist as globally renowned as James Hillier Blount (that’s Blunt to you and I) releases a new album, you expect him to return to the limelight with an almighty bang: a flurry of high profile appearances, hyperbolic performances, grandiose costumes and a swirl of magazine covers and interviews; literally anything to get the word out that JAMES BLUNT IS BACK.

Yet, after three years away from the public eye, the “Wiseman” hit-maker has released his new LP in a rather muted and old-school fashion: he’s clearly letting the songs speak for themselves, which is a brave move when competing with the Rihanna’s, Lady GaGa’s and Cheryl Cole’s of the extrovert 2010 pop landscape.

And so it is that Some Kind of Trouble “only” reached #4 in the UK charts this week, after his two previous records both hit the top spot. This is not to say that this is a weaker collection of tracks – to go top 5 is by no means a failure – but three years is a long time away in this flippant and inattentive superficial age. You may require more than a guest slot on Never Mind the Buzzcocks next time, James. I’d book myself in for The X Factor results show in 2013 now, if I was you!!

Blunt has always been know for “nice” songs; inoffensive and harmonious ditties which let his soft voice soar on the choruses and can easily be played on acoustic guitar. They lack the almighty bang which I previously mentioned, relying instead upon capturing the public imagination to make an impact, much like “You’re Beautiful” did half a decade ago. It’s a shame that lead single “Stay the Night” didn’t quite manage this (peaking as it did at #37) as it is a joyful and happy track which evokes summer nights and camp-fire sing-alongs.

Alongside the warm and uniting glow of “Stay the Night”, “Superstar” (track 6) and “I’ll Be Your Man” (track 10) are my personal favourites from the album – upbeat and jaunty numbers which get your mouth humming and foot tapping. Track 2, “Dangerous”, starts off with a much heavier beat than you usually expect from a Blunt number, but that soon gets lost amid the tuneful layering – not that that’s a negative admission.

If you’re familiar with either 2004’s debut Back to Bedlam or sophomore effort All the Lost Souls (2007) then you know what to expect from Some Kind of Trouble. This album is by no means a reinvention; indeed a trio of tracks – “Best Laid Plans”, “No Tears” and “Calling Out Your Name” – retain the sombre melody of the musician’s more heartfelt ballads from previous releases. Perhaps they were written in the same sessions and held back, who knows?

From suspiciously similar songs to something spectacularly specialised: album closer “Turn Me On” is something of a unique peculiarity. More discordant in tone and with a rawer and jazzier feel than any of the album’s other tunes, this raunchy slap bass number sticks out like a sore thumb. It’s not necessarily bad, but it doesn’t feel like it belongs, either, which is perhaps why it was tagged on the end as an experimental bonus track, after the five seconds of silence which compose track 12.


In a CR@B Shell: A solid if unspectacular return for the former army officer. Playing to his strengths, Some Kind of Trouble repeats Blunt’s folksy formula, though he may have to change things up a little for future releases if he is to avoid being labelled bland.
aaaaa

Man In The Mirror

Album Review: PRINCE – “20Ten”
NPG Records
Released: 10th July 2010
www.mirror.co.uk/topics/prince/
______________________________

In the run-up to the Daily Mirror's recent 20Ten giveaway, the artist formerly known as The Artist Formerly known as Prince (now just Prince) - once a pioneer for internet-only music downloads via his now defunct NPG Music Group - came out with the (slightly hyperbolic) claim that “the internet is dead.” Soulless, perhaps. But dead?! Sorry to contradict you, Mr Nelson, but I think the stats speak for themselves (not that I’ve done the research – I’m here for the choons, not the chores); there’s clearly life in the world wide interweb yet. Some may say it’s still in its infancy, but I digress...

Is it just a case of sour (purple) grapes for an '80s giant no longer at the top of his game, sales-wise? Would Prince feel any differently if he had granted iTunes the use of his considerable canon of classics and reaped the financial reward? Has the independent icon and rival-of-conventional-record-companies become excessively paranoid about the misuse of his image and circulation of his works? Or is exclusive newspaper distribution of audio material really the revolutionary future of a dying industry?

Whatever the answer, I don’t think any consumer can complain when they can purchase 10 tracks and 47minutes of brand new ear candy with the day’s headlines (and a free TV guide!!) for less than the price of a single iTunes download. With a week of free promotion (interviews, competitions, hype, et al) and his new album landing in 2.5million UK homes, you can certainly see the business sense behind Prince’s innovative move. After all, it worked wonders for him in 2007 when Planet Earth was given away with the Mail on Sunday prior to his 21 Nights in London concert series.

But the question remains: is 20Ten actually any good? Does it stand up to Prince's impressive - and extensive - back catalogue, or has the Purple One struck coal when mining for gold, second time around…?

“20Ten” Track-by-Track Review:

1. COMPASSION (3:57)
A bright, toe-tapping album opener and my personal favourite; “Compassion” is fun, catchy and happy pop, and would have made a perfect single, had this record required such promotion. If you can resist clapping along at the closing breakdown you’re a greater man than I.

2. BEGINNING ENDLESSLY (5:27)
Another funky number this, although track 2 has a much darker tone than its predecessor. “Beginning Endlessly” sounds like it would fit well on 2006's 3121; maybe it was penned back then? It’s less gleeful than “Compassion”, but still enjoyable snyth-pop, particularly when Prince and his rhythm guitar go improv crazy two-thirds of the way through.

3. FUTURE SOUL SONG (5:08)
As the song title suggests, track 3 is a total change of speed and mood, but no less delightful. “Future Soul Song” is a soothing and soulful (duh!) ballad with a serene and mystical quality enhanced by some beautifully lush backing vocals. In a word: Elegant.

4. STICKY LIKE GLUE (4:46)
A squirm-inducing rap (sample lyrics: “I’m just a gracious host / everybody under me make a toast”) is saved by some funky-ass rhythm guitar work in this mischievous ode to inseparable lovers which really comes alive towards the end. Any chance of a rap-free radio edit, P?

5. ACT OF GOD (3:14)
A rousing and funk-tastic cut packed with political topicality (bankers, tax fraud, imprisonment) and a killer riff. Pity it never really ends, though, instead segueing into the following track waaaaaay before it feels ready to. “Call it what you want it’s just an Act of God”

6. LAVAUX (3:04)
Another firm favourite of mine, “Lavaux” (it’s a region of Switzerland, globetrotters) begins like a punchy homage to “1999” and continues with one foot firmly in the '80s. This retro treat would get me on the dance floor in a heartbeat.

7. WALK IN SAND (3:30)
The sentiment is nice – if somewhat clichéd – alas, that is pretty much all I can say about “Walk in Sand”. A nice, comfortable, but ultimately forgettable three minutes of background music for 'adult time'. And no, I’m not just bitter ‘cos I’m single… *chokes back tears and resentment*

8. SEA OF EVERYTHING (3:49)
A sweet but sickly slow jam which is further hindered by following on from another sweet but sickly slow jam. “Sea of Everything” reminds me somewhat of Planet Earth’s “Future Baby Mama”; neither song has ever really grabbed me (dare I say they’re kinda… boring) and I find myself reaching for the skip button.

9. EVERYBODY LOVES ME (4:09)
Well, this is just excruciating: A definite low point in this collection. A juvenile party puff-piece with vainglorious sentiment and a horrendously cheesy post-production effect on Prince’s vocals. “Whoop-de-whoop”

77. LAYDOWN (3:07)
That’s not a typo – you seriously have to fast-forward to track 77* for 20Ten’s bonus track, which sees Shelby J. joining Prince on vox. “Laydown” is stylistically disparate to the rest of the album, self-referencing a “new sound” which is more akin to the hip-hop style cluttering the charts today. That isn’t a criticism, mind, I thoroughly enjoyed the dark electro-beats fused with some funky guitar work. Plus how can I hate a song which name checks Yoda?


CR@B Verdict: A blisteringly confident start & strong middle are let down slightly by a slushy and embarrassing close. While not perfect, 20Ten is a merry, radio-friendly jamboree of Prince’s multitude of styles which will please fans & engage Daily Mirror readers looking for a slice of pop-tastic funk.
aaaaa

___________________________________________________________
*Surely track 20 for song ten would have been a more inventive in-joke? But whatevs.