Tom Odell- Long Way Down Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Long Way Down

Artist- Tom Odell

The Brit Critics Choice Award seems to be one of those awards that truly does show the critics can get some things right, as the past winners of the award such as Adele, Jessie J and Emeli Sande have all gone on to have amazing careers and worldwide success. As the first male winner of the Critics’ Choice Award, Tom Odell has a lot to live up to in terms of past winners, but also seems to be destined for success just through winning the award. But does Odell’s album live up to the hype that surrounds him?

Track 1- Grow Old with Me

First track Grow Old with Me is a sweet indie pop piano ballad that opens up the album in this cinematic way through the piano led intro that lasts for 30 seconds. Lyrically the track focuses on Odell telling this person of his love through how he knows life will be fine over time and they will always be the same at heart as they grow old together. The song is lyrically quite pure and has this powerful message that could appeal to different audiences, although the lyric 2 minutes 13 seconds in feels very unnecessary and a bit weird. The track features the singer giving us a slightly gritty vocal performance that becomes more powerful and vibrant as the song goes on. And the track features a bouncy piano melody that builds in energy through the introduction of a guitar and then a heavy drum bass that just gives the song this rush of energy. But whilst the song builds in power and energy, the lyrical content starts to feel less passionate and sweet, and so this track somehow just ends up going a bit wrong as it goes on.

3/5

Track 2- Hold Me

Hold Me is the second single from the record and finds the singer giving us more of a rowdy and soaring tune. Lyrically Odell comes across like he is drunk on love, focusing particularly on the fact that when this girl holds him it means everything is great. The message is cool but a bit poorly executed in terms of the lyrical repetition, and although the singer imbues passion into the track with his vocals, the vocal quality also feels a little bit poor because at times it doesn’t have the right texture and feels like a man just yelling. The clattering drums, guitar and the pounding piano riffs create a powerful sound that is satisfying, but overall there is something missing from this track, and it doesn’t feel like a single worthy of someone who got a Brit Award.

2.5/5

Track 3- Another Love

Initially appearing on the singers Songs From Another Love E.P and the first single from the album to reach the UK top ten, Another Love is an indie pop ballad that finds Odell on better form lyrically and vocally. The lyrical content of the track has a slight poetic quality that is nice as Odell puts on the role of this man who wants to love another woman, but who cannot love right because of romantic things with a former lover. The song has this brutal honesty that is cool and is given power by the emotional vocal performance that Odell provides, with the slight roughness of his voice giving the song a great intensity, whilst the way the track builds also nicely allows for the singers vocals to build. Production wise the song nicely employs piano and drums for this grand sound that makes for a grand ballad, with the gospel like vocal moments adding this extra emotional level to the song. Things would have perhaps worked better in my opinion if it was a bit more stripped back, but as it is, it is a good solid ballad.

3.5/5

Track 4- I Know

Following a similar vein as Another Love, I Know finds Odell in a hung up on a girl state, as he sings about how he knows the girl has told him to go away, but he seemingly can’t get her out of his mind. The repetition of I Know is good and makes the chorus catchy, but at times the lyrics do feel a bit clichéd. The singer’s vocals are strong and also nicely show off some of his range, but again the production is a bit too forceful and doesn’t build in sound in the right way, or at least not until the final chorus, and so it would seem that even at this slightly early stage Odell’s downfall would be that he packs too much into his songs.

3/5

Track 5- Sense

Another delicate piano led number, Sense finds Odell in this fragile state of mind as he poetically questions whether his world will make sense if he loves and lives in a certain way. The song has this touching delicacy that is brought out nicely by the conflicting passion that lies within the almost narrative like lyrics. The songs piano instrumentation keeps the track in this simple sound that is nicely elevated later on by the use of gospel like background vocals, whilst this sombre, stripped back tone really allows the singers emotionally loaded vocals to shine, giving us a powerful and well-crafted, delicate piece of music that is like art.

4/5

Track 6- Can’t Pretend

Can’t Pretend keeps the fragility of the previous track ticking along nicely as the singer tells us of how he can’t pretend to be in love and be something that he is not. The message is powerful, even though it is perhaps not as well-crafted because of repetition and a lack of lyrical substance in certain sections. The track has this two tone quality as initially the song is this simple piano led ballad that features a simple, deep vocal, before the track builds into this raucous number with heavy drumbeats and punchy guitar and piano rhythms, as well as this big, booming vocal that is elevated by the use of choir like background vocals. These fragile moments seem to work best for the singer, but this is also another tune where you get the sense of Odell trying to pack so much into his music that he just doesn’t quite get things right.

3.5/5

Track 7- Till I Lost

 

With Till I Lost Odell changes things up a little bit in giving us a slight preppy feel to the song with the snappy drum beats of the production. Here we find the singer detailing this life of just wandering around the town with this person and realising that he didn’t realise what he had till he lost it. The song is lyrically clichéd with an annoying ‘ooooh’ hook for the chorus that just feels like the singer couldn’t think of anything better to say. The clattering tone of the production creates a bit more of a vibrant quality that is a welcome change, yet the sound is still very familiar and safe, whilst the Odell’s vocals are passionate enough but once again just go into I am yelling territory.

2/5

Track 8- Supposed to Be

Supposed to Be is a soft mid tempo number that has slightly more of a soulful pop quality with the backbeat and the snazzy rhythm of the production has a whole. The song finds Odell singing of these good times he had with this person and how it was always meant to be that way. The song is more lyrically sophisticated, with Odell tapping into his heartbreak well, whilst his vocal is more subdued and controlled to bring out the songs vulnerability very beautifully. With production having more of a jazzy tone you can be more invested in the song, and it is a shame that he only produces this kind of track late in the album.

3.5/5

Track 9- Long Way Down

Title track Long Way Down is a weepy piano number that focuses on the singer creating this image of a girl up on high, and how if she falls then it will feel like a long way down. The song is lyrically intriguing as Odell could be just metaphorically referring to not letting a relationship end, or he could be asking someone not to leave him with regards to suicide. This intriguing quality of the track keeps you interested throughout, and vocally Odell uses his voice well in creating a chilled flow to the track that sees his voice rise and fall in a lovely way. The softness of the piano line allows the lyrics and vocals to have more of an impact and make you understand the artist a little more, and whilst it is actually quite a short song, Odell manages to make it feel like we are being taken on this personal journey that doesn’t feel unfinished.

3.5/5

Track 10- Sirens

Finishing off the album is Sirens, a song that utilises a good mix of a delicate piano melody with clashing drum beats and a nice acoustic guitar riff, creating this atmospheric tone that is in one way sad, but strangely uplifting in another way. The song focuses on Odell telling us that he keeps hearing sirens, and he will just run away from them. The song has that dual quality of being relationship based or more of critique of society, and so this is a nice way to end the record in terms of keeping you interested and sort of asking you to think about what he really means. Odell is vocally strong as he builds up his voice really well, with the layered style of the vocal definitely adding an extra kick to the final chorus.

3.5/5

Final Review

For a debut album, Long Way Down isn’t a terrible offering. But from a Brit Critics Choice Award winner, it is not the album that you want. Whilst his voice is interesting and distinctive, Odell often comes across as yelling rather than singing, and the album shows that in certain ways he still needs to improve on his vocal delivery. Whilst some of the songs are lyrically intriguing, other songs use bad clichés or are invested in poor pop hooks that show off the lyrical sparseness of some tracks. Furthermore, whilst the production is interesting, the blend of guitar, drums and piano is so familiar by the end that it seems as if Odell cannot make any other type of music. It is a promising debut, but for me Long Way Down is not a record that shows off this musician to his best, and makes me question what the critics were thinking in giving him the award.

4.5/10

Best Track- Sense

Worst Track- Till I Lost

Tim McGraw- Two Lanes of Freedom Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Two Lanes of Freedom

Artist- Tim McGraw

After 20 years with the record Curb Records, Tim McGraw suffered a legal battle with the label, and as such releases his twelfth studio album under a new label, Big Machine Records. As such this record has an apt title in Two Lanes of Freedom, as the singer almost has a new lease of life under a new label and the way that his music could evolve. But is Two Lanes of Freedom a good record, or have Big Machine Records made a mistake in signing McGraw?

Track 1- Two Lanes of Freedom

The opening number and title track, Two Lanes of Freedom is a light, bouncy mid tempo offering from the singer that nicely emphasises the sense of release that this album is built upon, in terms of the singer having a new record label to create the record under. The song lyrically focuses on McGraw telling this girl that she great, and that they have the freedom to take the relationship wherever they want to. McGraw’s distinctive vocals are beautifully brought out within the track, as his gritty tone compliments the light twangs of the guitar and the whole feel of the production, whilst the fact that he really reaches for the high notes emphasises that he means what he says when there is two lanes of freedom. The choir like vocal moments and epic edged guitar solo at the end makes for a vibrancy that kicks of the record very nicely and makes you feel like McGraw is in a slight state of euphoria.

3.5/5

Track 2- One of Those Nights

Continuing from the mid tempo, upbeat energy of the previous track, One of Those Nights finds McGraw singing of this girl getting ready for a night out and how this is going to be an epic night that will make some good memories. The storytelling emphasis is ok but sadly the lyrics feel a bit too clichéd, and there is a lack of a really good hook that captures the listener. McGraw’s vocals are strong and show off some of his range nicely, but at times his voice doesn’t capture the essence of things really being memorable. Furthermore, the production is simple and effective with the drums and guitar, but at the same time the sound feels a bit forced and trying too hard to be powerful, ultimately failing to do so.

2.5/5

Track 3- Friend of a Friend

Taking things down a notch, Friend of a Friend is the first reflective, emotional ballad from McGraw that we get, showing of a nice, vulnerable side of the singer and giving a good slice of diversity to the record. The song is lyrically very much about storytelling, as McGraw sings of this girl he used to be with and how he has heard from friends of friends of how she is doing great, but she shouldn’t believe if she hears that he is still thinking of her. The story is quite powerful and is made intriguing as you can question whether the message of the track is that we should believe things we hear by the by, or whether this is McGraw hiding his true emotions. The singers gravelly tone brings a beautiful and also delicate texture to the track that makes the story more potent, and with the lush backing of the forceful electric guitar and stirring strings, this song cements that McGraw is definitely able to make more free sounding, powerful tracks than perhaps he has ever done before.

3.5/5

Track 4- Southern Girl

We are now transported to a lighter state within the record courtesy of Southern Girl, a bouncy, upbeat tune that is undoubtedly a summer song. The song treads a familiar line lyrically as McGraw sings of finding this girl from the Southern United States attractive, and how southern girls are all kinds of great. The message has a catchy chorus but is clichéd and something that has been done before. McGraw gives a vocal that is a little suave and playful, but which is also really weird in the vocal distortion of the post chorus, which gives a robotic styled voice that is just annoying and which feels like McGraw is trying too hard to be current. The finger snapping groove with the simple guitar strumming gives a light sound that you can bounce along to, but there is also a lack of originality that can’t be avoided, and so this is more of a so so summer track than a throw the top off the car roof down and live life kind of number.

2.5/5

Track 5- Truck Yeah

Lead single Truck Yeah is an up-tempo country rock track in which McGraw focuses on telling us of driving in his truck and just feeling great, with the song also positioned to be an anthem for truckers. The song is lyrically quite stupid and draws on some clichés, whilst McGraw’s vocal performance is too soft and bland, with the artist sounding like he is not totally invested in what he is singing. The country rock production is cool with the blazing electric guitar riff and thumping drums, and this sound works really well in the middle section, but the sound also has a bland quality in that it feels like a typical style for this kind of party track, so why this was chosen as the lead single doesn’t make sense to me

2.5/5

Track 6- Nashville Without You

Nashville Without You is a nice track in terms of bringing us down from the bold, in your face qualities of the last track too more of a softer, traditional country state. Here we find McGraw being his charismatic self and singing of an array of images that to him sum up Nashville, with the singer telling various people that Nashville wouldn’t be the same without them. Lyrically this is much more of a sharper piece that feels a bit personal and which doesn’t go into terrible cliché too much, whilst McGraw gives us a vocal performance that has this tone of warmth and love, which is just great. Keeping the tone of the track light with the guitar riffs of the production creates this nice feel to the song that makes the lyrics feel more truthful, and why this wasn’t chosen as the lead single is another thing that doesn’t make sense to me.

3.5/5

Track 7- Book of John

Another emotional track that keeps the record in more of a softer, reflective state, Book of John finds the singer telling us of how he is looking upon this life of a man named John through this picture book, creating this image of a youthful man who loved life. What is lovely about the song is that after the halfway mark you realise the singer is memorialising his dead father and showing his love for this man who he will one day see again, and as such the lyrics just feel much more meaningful and impactful. The vocal performance is nice and simple with a soft quality that imbues the song with this true feeling of love, and with the light country guitar production, this is just a beautifully sweet tune that will have many of the singers female fans probably feeling like crying.

3.5/5

Track 8- Mexicoma

After the soft quality of the previous track the singer takes us back to more of an upbeat state with Mexicoma, a preppy country tune that focuses on McGraw telling this girl of how he wishes that he could see her again, but he knows it is over, and he is just south of the border in this coma state. This is one of the better up tempo songs lyrically because the song is just quirky and fun with an instantly catchy chorus. McGraw also sounds like he is actually having fun within his vocal performance, with the songs upbeat tone probably working well because the track isn’t simply rooted in a clichéd party idea, but instead has a romantic twist. The stomping guitar and drums of the production are also given an extra injection of fun with the use of horns, and this is definitely just a song where you can revel in McGraw’s joy.

3.5/5

Track 9- Number 37405

Lyrically Number 37405 is a cool song that has more of a narrative led quality, as the singer tells this tale of man who was once the life of the party and had a good life, but who is now just a number in a prison cell after the consequences of one drunk driving mistake. The song is quite a smart tune that makes you think about these types of situations, with McGraw’s earthy vocal tone acting as the perfect voice to tell this type of story. Keeping the production soft and subdued allows the vocals and the songs message to shine through and really make the listener think, and with this track McGraw shows that he is an artist who wants his music to have a wide impact.

3.5/5

Track 10- It’s Your World

Slipping back into a up-tempo party state, It’s Your World is this stomping country rock effort where McGraw sings of how this spectrum of stuff is all owned by this person, and how they make their mark in life, and McGraw is just living in their world. The song has this fun romantic spin as McGraw plays the role of a man who realises his place in a relationship. The problem with the track is that the songs message doesn’t keep your attention enough throughout, partially due to McGraw’s vocals being a little monotone in some ways. The guitar solo in the bridge and the final minute is great, but the stomping feel of the production also doesn’t keep you invested in the song the whole way through.

3/5

Track 11- Highway Don’t Care (featuring Taylor Swift and Keith Urban)

The records last track is a mid tempo country ballad that finds McGraw teaming up with fellow country star and musical sensation Taylor Swift, whilst country musician Keith Urban provides guitar. The song finds Swift and McGraw playing the role of two people in a relationship, with McGraw singing of how he knows how this girl is feeling and how the highway that she is driving on doesn’t care if she is alone or coming home, but he does, whilst Swift simply sings of how the song on the radio expresses how she can’t live without her man. Both artists blend together really well in terms of their respective vocal performance, with Swift’s softer, slightly more youthful tone offsetting McGraw’s grittier tone very nicely. The production is dramatic and grand with Urban providing a great guitar solo for the bridge and creating an extra kick to the songs final minute. Overall this is a sophisticated country ballad that was smartly chosen as a single and which finds two quite different singers working really well together, with the song being slightly funny in that Swifts debut single was titled Tim McGraw and in a way paid homage to the man.

4/5

Final Review

Two Lanes of Freedom is a good album, but it isn’t the best album that you want from McGraw after signing with a new label. The album works better when things are more subdued and the singers earthy tone has its full effect, and whilst the odd up tempo numbers work well, other upbeat songs are really bad. The singer also doesn’t feel invested in some of the tracks, and the production value of some songs is too clichéd. Two Lanes of Freedom does show some promise and is a kind of slick affair, but as a whole package it doesn’t maintain a good consistency, and McGraw is going to have to perform better for his next album.

6/10

Best Track- Highway Don’t Care (featuring Taylor Swift and Keith Urban)

Worst Track- Truck Yeah

Lorde- Pure Heroine Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Pure Heroine

Artist- Lorde

New Zealand singer songwriter Lorde is an artist that just catapulted into the mainstream in 2013 with her hit song Royals. If I am honest with you, I still haven’t really jumped on board with the Lorde craze that is seemingly sweeping the world, but I can see why people like the singer with her distinctive voice and minimalist style. So in reviewing Pure Heroine I aim to see whether I should actually really love this artist, whether she is worth all the hype, or whether actually she is just someone who has just managed to become a craze and doesn’t really deserve it.

Track 1- Tennis Court

Opening track Tennis Court is the records second single and finds the singer lyrically tackling the space between an innocent time and her newfound fame. The lyrics are sharp and feel smart in the way that she highlights the way that society is a bit desensitised now, whilst she also highlights that she does what she does because she simply loves it. The song features a simple vocal performance with Lorde giving us quite a witty style to her vocal. Production wise the song features a cool blend of snappy electronic instrumentation with a trip hop flecked rhythm that is fun to listen to, and so this track starts the record off nicely.

3.5/5

Track 2- 400 Lux

400 Lux finds the singer giving us femme fatale styled pop in which she sings of this person picking her up once again and loving the environment and the life that is all around her. The song acts like more of sweet love song that can tap into the blissfulness of youth, with the title referencing the sunset/sunrise and so perfectly summing up the beauty that acts as the essence of the song’s lyrics. Vocally Lorde is a little more languid with this track and definitely shows off the youth that shrouds her artistry to great effect. With the fuzzy bass and the crackling pop quality of the production there is an atmospheric tone to this track that feels wonderful and kind of joyous to listen to.

3.5/5

Track 3- Royals

The singer’s breakout hit, Royals is a song that originally featured on the singers The Love Club E.P. The song is an electronic based track that is minimalist and which is infused with a hip hop style, with the singer also being influenced by American singer- songwriter Lana Del Ray. Lyrically Lorde focuses on what is the opulent life of many pop stars and highlighting the nonsense and darkness of this luxury, with Lorde also focusing on the simplicity of her life growing up. Once again the singer really shows how lyrically provocative she can be and how she is a really sharp lyricist at such a young age, whilst the song is really elevated by the singers lilting vocal style and the lush harmonies in the chorus. Producer Joel Little does a great job with the finger snapping groove and toe tapping bass, and so Royals is a track where you can really hear why people love it and why it deserves the success it has had.

4/5

Track 4- Ribs

Beginning with this haunting, ambient opening, Ribs is a potent track that vocally for me really shows the singers appreciation of Lana Del Ray. The song is lyrically passionate and finds the singer growing up and becoming a bit more mature, whilst also highlighting that the singer is starting to face more grown up problems.  What is interesting about the song is the way that it builds in pace and intensity, with the singer vocally sounding both exhausted and becoming more frantic as the song progresses. The production also matches this feeling with the harsh bass and swirling electro rhythms creating this bubbling sound that shows that this is a girl who understands that life brings problems, and she allows you to really connect with her, as both the artist and listener are ultimately just human and vulnerable.

3.5/5

Track 5- Buzzcut Season

Buzzcut season is a quite melancholic affair that has a tropical paradise style. Once again the singer is really sharp and powerful in her analysis of the issues of the world, as she plays the role of a girl trying to remain blissfully ignorant to the disasters that are going on in the world and which the news constantly broadcasts. The minimalist production with the piano beat and clattering instrumentation creates an airy, atmospheric feel to the track that perfectly matches the idea of blissful ignorance, whilst vocally the singer is really strong as the layered style creates this air of innocence, and Lorde portrays herself as being really attached to the message of the song.

3.5/5

Track 6- Team

Third single Team sees Lorde once again tackle the issues she observes within contemporary pop culture, this time referencing the put your hands in the air style of a lot of today’s popular music. The song also focuses on the idea of people from smaller cities being united in experiences and being disconnected from bigger, more well-known cities. The song is smart and also changes up the album a bit as the production utilises more synths and hand claps that almost give the song an arena ready feel. Furthermore, the singer’s vocals are also nice and a bit different, with the chorus having a lovely layered style but also showing off a higher element of the singers range. Team may focus on the problems of the popular, but it also stands on its own as a beautifully composed, catchy pop song.

4/5

Track 7- Glory and Gore

With a title like Glory and Gore you would expect this song to be a dark affair, and Lorde doesn’t disappoint. Here the singer focuses upon society’s obsession with violence, with the singer fitting into this dark role of a person who is a victorious gladiator. The dark qualities of the song are really intriguing, and vocally Lorde is really smart as she creates this smooth, simple vocal style that is moody and layered in a way that perfectly brings out the sentiment of the song. The snappy beats of the production creates a simple but frenzied sound that sits well with the tracks dark elements, and with the heavy bass drum used in the bridge, this is a song that works well as a whole package.

3.5/5

Track 8- Still Sane

Lorde goes back to looking at her rise to fame with Still Sane, whilst also addressing the concept of working and playing. Lyrically the song is strong as the singer almost makes it seem like we are seamlessly entering into her thoughts and her processing of her life, whilst the vocal style is great as the smoky tone of Lorde’s performance is nice, rich and impactful. Little does a great job with the production in keeping things slightly vibrant in places with some snappy beats, but in other places things are much more subdued, and the singer’s voice and lyrics really have the impact that they deserve.

3.5/5

Track 9- White Teeth Teens

White Teeth Teens finds Lorde talking of the imperfections of teenagers and how they present themselves, providing another smart commentary of life and also nicely showing off her age a little with her subject matter. Vocally at this point this singer’s smooth, quite haunting style is very identifiable, but on this occasion the vocal doesn’t have the same kind of effect on the listener. However the production is great in terms of the blend of military style drum beats with echoing background vocals and slightly tinny percussion, creating this cool doo wop style that adds some great diversity to the record as a whole.

3.5/5

Track 10- A World Alone

Final track A World Alone is a powerful way to end the record, in that the song is backed by this dance beat that commands your attention. The production just has a snappy tone that keeps you invested throughout, and which nicely flows in a way that allows the lyrics to be more prominent in places, but which makes you just want to dance in a state of euphoria on other occasions. The lyrics focus on this kind of love tale in which Lorde expresses feelings of so many things being wrong in life, but there is that one person who you can escape with away from people’s judgements, even if that relationship is doomed. It is a really interesting concept that is styled into a catchy song, with Lorde giving us a vocal performance that is youthful and fun and which taps into the passionate, euphoric element to the lyrics.

3.5/5

Final Review

Pure Heroine is a really good album that is sophisticated and is much more interesting than some of today’s music. Even at her young age, Lorde is already a really great lyricist, with her songs being great in terms of the critiques she makes about society. Her vocals are distinctive and interesting, whilst producer Joel Little works wonders with the minimalist style of the production that combines a range of different influences and which just creates an intriguing style for the singer that commands your attention, with the album also really working well as one coherent piece. In listening to Pure Heroine I finally feel that I understand the hype around Lorde, and now I can see that she deserves her success.

9.5/10

Best Track- Team

Worst Track- 400 Lux

Tinie Tempah- Demonstration Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Demonstration

Artist- Tinie Tempah

British rapper Tinie Tempah seemed to become a household name really quickly with his debut album Disc-Overy, producing such hit singles as ‘Pass Out’ and ‘Written in the Stars’. After a number of delays, Tempah finally released his second studio album Demonstration in late 2013. But does the rapper still have that ability to create great music that people will love, or is this new record more of a sub-par effort that will see other up and coming rappers take Tempah’s place at the top?

Track 1- Someday (Place in the Sun) (featuring Ella Eyre)

The album’s opening number is a grand affair that finds Tempah teaming up with rising star Ella Eyre. Within this track we find Eyre singing of how you will find you place in the sun and how you have to work hard within life, whilst Tempah provides lyrically sharp raps for the verses in which he focuses on his journey from the harsh streets of London to the successful recording artist that he is today. There is this harsh, hard hitting quality to Tempah’s raps that makes you feel that he is still fighting in life and is definitely never going back to his former life, whilst Eyre is the perfect guest artist has her soulful, rich vocal performance provides the song with a weighty, immediately attention grabbing and accessible chorus that compliments Tempah’s snappy raps. The production value is great as the way that the song develops from this subdued, piano led affair to a more rock guitar heavy, dramatic track works really well and makes this song primed to be both a great single choice and a great live moment.

4/5

Track 2- Trampoline (featuring 2 Chainz)

Acting as the record’s lead single, Trampoline is a fun up tempo number with quirky electro beats that perfectly capture that idea of being on a trampoline. The song focuses on the rapper telling us of how he has come up in the world and how he is just living life, with the song having a silly and flirtatious element to the lyrics. In terms of the raps Tempah doesn’t really maintain your attention, but the repetitive chorus is quite ridiculous but catchy. Whilst 2 Chainz’s guest rap is a bit clichéd for a rapper, his harsher American voice compliments Tempah’s voice quite well. The best thing about the song is definitely the production that comes courtesy of in demand producer Diplo. With the track Diplo provides us with a really frenzied sound that is trap and hip hop led with squiggly electro notes and a really bouncy rhythm that just makes you want to go a bit wild, and which will probably work well in clubs.

3.5/5

Track 3- Don’t Sell Out

If you just take this track from its title it would seem that Tempah is trying to instil a really forceful message into his listener. However, this is far from what the song actually does, as instead we find the singer poking fun at the often used term of selling out. The song finds the rapper giving us a smart analysis of society with a wittiness that is infectious to listen to, whilst the use of a sample of the song ‘Kalasala Kalasala’ provides a snappy groove and keeps the song rooted within this ideology of not selling out being a funny statement. The uncredited vocals from Candic Pliay provides a short but equally as snappy moment away from Tempah’s raps and allows this song to be another track that would probably work well as a single in the future.

3.5/5

Track 4- It’s Ok (featuring Labrinth)

Frequent Tempah collaborator Labrinth makes the first of two guest appearances on the album with It’s Ok, a song that focuses on Labrinth telling this girl that he has been unfaithful and this girl should not say it is ok, because if she does then he knows it is over. Tempah provides simple raps to compliment the chorus and continue that idea of being in a relationship that is wrong and which he realises the problems. What is nice about this track is that it contrasts the last couple of tracks in terms of diverting from the fun and frivolous quality, whilst the song is more ballad like and not something that many fans would expect from this duo. Labrinth provides a smooth vocal for the chorus that is imbued with this essence of honesty, and the simple quality of Tempah’s raps also works well. Furthermore, the heavy bass drums and dark essence of the production gives the song this dramatic edge that works really well, creating a track that is quite a mainstream break up song but which still feels slightly unique and different.

3.5/5

Track 5- Mosh Pit (featuring Dizzee Rascal and Ty Dolla $ign)

Mosh Pit takes the record back to more of a fun frame of mind, whilst the track also finds the rapper teaming up with fellow rapper and musical influence Dizzee Rascal, as well as American rapper Ty Dolla $ign. The track simply acts as means for the three rappers to rap about doing their thing with their music and how the music has them being in a mosh pit, where people smash into each other whilst in a live show. Rascal’s furiously fast paced rap definitely singles him out as the superior rapper of the three, but overall this just feels like it is designed to be a live track where people will be in a mosh pit, and as a song to just listen to it just doesn’t work, with the frenzied style of the production being very annoying.

2.5/5

Track 6- Looking Down the Barrel

Opening with a music box style intro, Looking Down the Barrel is quirky rap track in which the rapper simply goes off on many tangents about fame, life and relationships. The song takes things back to more of a lyrically sharp state in which Tempah shows of his ability to analyse situations well, with the song also featuring a cool and quirky sample of the song ‘Betty Jean’s Mama’ by Gator Creek. The track’s producer Tom Rowland creates a great sound with the mix of snappy hip hop production with acoustic led guitar notes, creating this earthy texture to the song that works well with the lyrics.

3.5/5 

Track 7- Children of the Sun (featuring John Martin)

Featuring Swedish singer-songwriter John Martin, Children of the Sun is an uplifting up tempo moment where Martin sings of how you are not alone and how we are the children of the sun, whilst Tempah provides us with simple raps about how he has climbed high in life and how he will continue to just do his thing, as will you. The songs focused sound with the snappy bass and prominent electronic undertone creates a nice flow for the track, and as whole this song is uplifting, with Martin providing a grand and weighty vocal performance for the chorus. The problem is that the formula for the song is something that Tempah has already used with his previous hit ‘Written in the Stars’, and because of that this song just feels totally devoid of originality.

2.5/5

Track 8- Witch Doctor (featuring Candice Pillay)

Witch Doctor is a mid tempo number with a slight soul and reggae vibe. Lyrically the song focuses on Tempah telling us of this girl who wants to get in on his life, being inspired by Tempah taking a girl from a live show onto his tour bus and showing her what it is like to live his life. The concept is fun and interesting at first, but after a while the song become bland, with Candice Pillay’s vocals in the chorus just lacking charm and feeling over repetitive after a while. The bubbly tone of the production gives a slight summery feel to the song, but on the whole this feels like filler track.

2/5

Track 9-Shape (featuring Big Sean)

With Shape Tempah sadly goes into boring rapper cliché in which he asks to see this girls shape and how if she plays her cards right then things will be great. Some moments of wit seep into the track, but on the whole the rapping is really bland. Big Sean’s rap nicely offsets Tempah’s in terms of the British American dynamic, but the rapper also just sounds like an egotistical, clichéd rapper. Sean is also better within this song, which isn’t good when Tempah is meant to be the lead artist. The quirky flow of the production with the clicking beats and a bubbly undertone makes for an interesting sound at first, but the production equally becomes as bland after a while.

2/5

Track 10- Love Not a Fighter (featuring Labrinth)

Third single Lover Not a Fighter sees Labrinth contribute a second time to the record, but this time around the two boys are back to their up tempo, fun loving ways, which sounds really good. The song finds the two artist’s just living life and being in this state where everything is good. The chorus is instantly catchy whilst Tempah provides some cheeky, flirty raps that see him back to his best. Labrinth provides a smooth vocal for the chorus that is sharp in its ability to be instantly memorable. And with the forceful, slightly rock influenced production with the stomping electro bass, this song is just a really fun tune that works really well as a single.

3.5/5

Track 11- A Heart Can Save the World (featuring Emeli Sande)

Tempah teams up with British singer songwriter Emeli Sande for A Heart Can Save the World, a bubbly, electronic orientated song that is designed to be another uplifting, motivational track within the album. The song finds Tempah rapping about what he believes in and how is just doing loads of great things, with Sande providing a simple chorus in which she expresses this sentiment of a heart having the ability to save the world. The song just uses a clichéd idea of spreading love, and Sande’s vocal contribution feels quite pointless The rapping is also too in your face and obvious, and although producer Naughty Boy provides a cool sound with the stomping electronic rhythms and the use of military styled drum beats, the song overall just feels like it was too obviously designed to be motivational, and because of this it fails.

2.5/5

Track 12- Tears Run Dry (featuring Sway Clarke II)

Reportedly amended 37 times due to constant adjustments, Tears Run Dry is an emotional song that finds guest vocalist Sway Clarke II singing about how there is no more regrets, and now his tears just run dry, whilst Tempah raps about personal thoughts and vents about some problems. The song is definitely one of the records finer moments, as Tempah gives us raps that are fine-tuned and meaningful rather than clichéd and egotistical. Sway Clarke II is also a great guest vocalist, providing a rich RnB vocal that creates an emotive centre. Producer Crada does an nice job with the production, giving us a forceful, bass heavy sound with some great use of potent strings, and with the volatile finish, this is a grand and emotional song that is much more sophisticated but still kind of rough, and which shows of Tempah at his best.

4/5

Track 13- Lost Ones (featuring Paloma Faith)

Seeing Tempah team up with British singer-songwriter Paloma Faith doesn’t seem like it would work on paper, but in actually hearing this song, the combination doesn’t sound that bad. Here the two artists focus on the concept of two people breaking up and trying to keep their pride, but realising that they regret things. Tempah’s rapping is strong, but Faith is definitely the artist that shines the most within the song, as she provides a smooth but quite eerie vocal for the chorus that brings out the emotion of the song a bit more powerfully. Naughty Boy takes production duties once again and creates this lovely blend of snappy beats with a nice string arrangement and a nice piano line.

3.5/5

Track 14- Heroes (featuring Laura Mvula)

Co-written by Emeli Sande, this song is nice simply through the fact that someone else can provide the vocal instead of Sande, because she doesn’t need to sing everything that she co-writes these days. The song is another motivational track where guest vocalist Laura Mvula exclaims of how everyone is a hero, whilst Tempah raps about an array of motivational ideas. The rapping doesn’t command your attention a lot, but Mvula is another great guest vocalist, as her rich, soulful vocals creates a much more impactful chorus. The production is another good combination of some snappy drum n bass rhythms with a good string arrangement, with this song overall being much more of a successful motivational piece.

3.5/5

Track 15- 5 Minutes (hidden track)

Hidden track 5 minutes focuses on Tempah asking us to fasten our seat belts and get ready for this fun ride, whilst Tempah raps about his life now and how it is apparently 5 minutes until he explodes. The song is just a fun and slightly silly rap track that focuses on the singer having fun, with the song being infectious in its simple revelry. Radio 1 DJ Zane Lowe acts as producer for the track and provides a great mix of hip hop sirens, fuzzy electronic notes and gritty guitar lines for an uplifting sound that you can just lose yourself to, whilst the uncredited vocals from artist J Warner act as a smooth contrast to Tempah’s volatile raps. It is a good hidden track, and the only problem is that it isn’t a good enough track to justify the five minute length.

3.5/5

Final Review

Demonstration is an album that definitely has a number of good tunes, but which doesn’t have the same consistent quality throughout. Sometimes Tempah’s rapping is great, being interesting and thought provoking, but at other times he either sounds silly or clichéd. The guest vocalists on the whole are good, but sometimes their presence is either too strong or too minor. The production of the album is also in this same vein, either being very good and attention grabbing, or bland and familiar. In a sense Demonstration just feels like an album that still needs refining even though it was delayed so many times. Either that, or Tempah should have just cut some of the tracks and made a shorter but potentially more arresting record, and a record that isn’t so mainstream that it sometimes feels pointless.

5/10

Best Track- Someday (Place in the Sun) (featuring Ella Eyre)

Worst Track- Shape (featuring Big Sean)

James Blunt- Moon Landing Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Moon Landing

Artist- James Blunt

Since bursting onto the scene back in 2004/2005 thanks to his breakout hit ‘You’re Beautiful’, James Blunt has been a really successful singer songwriter who has amazingly gone from ex-army man to an internationally recognised artist. With his new album Moon Landing, Blunt has definitely seen a renewed level of success, as the records lead single ‘Bonfire Heart’ became the singers highest charting hit in the UK music charts for some time, reaching number 4 in the charts. But was that hit song just a fluke, or is Moon Landing actually quite the brilliant album?

Track 1- Face the Sun

Face the Sun is a slow burning, ballad opening for the album that finds the singer in passionate, uplifting music territory that many people have come to know him for. The song finds Blunt telling us about how life is hard, but things can become better, and he uses the idea of flowers facing the sun to express how you will find the one at some point in life. The lyrics are very soppy but sweet, and with the delicacy of the singer’s vocal performance the song feels quite sincere and nice, whilst Blunt has that warming, light tone that really works for him and which reminds you of why he became such a big hit so many years ago. Producer Tom Rothrock does a nice job in slowly building up the power of the song’s sound from simple piano to a stomping, pop rock edged, stadium rousing final minute that makes this a good opening for the record, and probably a good start for the singers live shows.

3.5/5

Track 2- Satellites

With the snappy string arrangement and nice backbeat that punctuates the song, Satellites is a quirky pop rock ditty that finds the singer addressing society and some of its problems. Within the track Blunt sings of how people are consumed by technology and how this is a really bad thing for society. The lyrics are definitely clichéd and don’t really say anything that interesting, but the song is quite catchy with the ‘oh oh oh’ hook and the way that the singer doesn’t have to subtly tell you what his point is. With Blunt’s light vocal performance the song feels fresh and airy and nicely feels like Blunt is definitely moving away from technology, and with the blend of instruments used in the production, this is a sweet pop ditty that does what it sets out to do.

3.5/5

Track 3- Bonfire Heart

Lead single Bonfire Heart was co-written and produced by One Republic frontman and hit song maker Ryan Tedder, and sees Blunt simply tell this person that they make him feel so good because they simply love him. The song utilises this fire metaphor to nice effect, and although some of the lyrics feel terribly clichéd, the folk pop driven chorus is instantly catchy and memorable, and makes you feel quite happy in listening to it. Blunt gives us a vocal performance that is nicely controlled but still full of passion, and the simple quality of the vocals make the song seem honest and sweet. Tedder does a good job with the production with his blend of folk driven guitar riffs with undercutting drum beats that just creates this uplifting tone for the track, making this a good choice of a single.

3.5/5

Track 4- Heart to Heart

Continuing on from the last track, Heart to Heart finds Blunt telling this person once again that there love is great and how he is there if they need him, because their hearts are seemingly intertwined. The message is instantly catchy with a nice uncertain but strong relationship dynamic within the lyrics.  The singer’s vocals are sharp and simple and makes the song nicely get to the point, but the production of the song is definitely more interesting. This is because the tracks sound utilises more of a jaunty musical rhythm with plenty of hand claps, making this another song that will sound great live, and which creates a slightly different musical avenue for the singer (albeit really not that different).

Track 5- Miss America

Revealed by Blunt to be a tribute to the late singer Whitney Houston, Miss America is a piano led ballad that focuses on Blunt singing of feeling like he knew Houston through her songs, and how she will be in the hearts of the people forever. The song is lyrically clichéd, but the sweet nature of the song is nice to listen to, and with the singer rich voice, the sense of love for this woman feels more sincere and heartfelt. Production wise the track is really strong, transforming from this soft piano piece to a stomping rock effort filled with this great electric guitar riff that captures the passion and intensity of the songs lyrical emotions.

3.5/5 

Track 6- The Only One

From the tribute of Miss America we turn to a more typical James Blunt type of song with The Only One, a relationship based track in which the singer addresses the fact that he has messed up in this relationship, but the singer has told this girl all his secrets, and to him she is the person he is meant to be with all of his life. The song lyrically once again edges into cliché, but the singer still manages to make the cliché not sound really terrible, with the chorus being quite catchy in its intensity. The singer’s vocals are really strong has he adds some depth to the chorus and uses the range of his voice well. The blend of the piano and the pounding beats creates a simple but emotive sound for the song that harks back to Blunt’s Back to Bedlam success, so he wants a weepy love single, then this wouldn’t be a bad choice.

3.5/5

Track 7- Sun on Sunday

Beginning with just this really delicate piano melody, Sun on Sunday is a song that is immediately positioned as a teary ballad. Here we find Blunt singing of how he can’t believe that he couldn’t see this person’s pain, and he just asks if he can help this person, because he hurts if they hurt. On this occasion the clichéd quality of the lyrics is unavoidable, and the song doesn’t have the right amount of impact in the way that the lyrics should. Although the singer’s voice is great within this really stripped back setting, the way that the production uses this simple piano line and some strings is another element of cliché for the track, making this more of a sub-par ballad.

3/5

Track 8- Bones

Bones is a really intriguing pop number that opens up with this really frenzied guitar line that immediately commands your attention after the last track. The song focuses on Blunt singing about his life and how he hasn’t always been great or confident, but this person makes him feel so good. The song is a feisty slice of pop that has this rushing chorus that is so catchy and powerful, whilst the singer vocally sits very comfortably within the track and sounds like a man just enjoying life. The production is really strong with the use of pulsing pop rhythms and vibrant drums, creating a great sound, and overall this song is great and must be a future single.

4/5

Track 9- Always Hate Me

After the happiness and adrenaline rush of the previous track we are treated to Always Hate Me, a break up song that finds the singer expressing how he has hurt this girl and because of this she will always hate him. The song is nice in its simplicity, but does have a slight clichéd narrative quality that makes it seem as if the singer has pulled his lyrics from a film. However, Blunt’s voice is great with this track, as his high pitched tone makes the vulnerable and sad quality of the song that bit more tangible. The sound is simple but dramatic with some booming bass notes, strings and a steady piano line that just creates a slightly forceful but ultimately simple sound that works well.

3.5/5

Track 10- Postcards

Postcards is another track that lyrically has more of a narrative led quality, as the singer paints this picture of a love story in which he sends postcards to his girl to show his feelings. The song is a jaunty, folk pop offering that features this lovely acoustic guitar riff that is infectiously jolly, and this joyous tone of the song works really well with the softness of the singer’s voice. The lyrics have a very middle of the road quality to them, but Blunt has enough charisma to pull off the song and keep you invested, with the final minute being a really uplifting moment with a great use of electric guitar.

3.5/5

Track 11- Blue on Blue

Final track Blue on Blue finds the singer in his usual emotive state. Here we find Blunt asking what he has to do to get through to this girl, as it is sad for him that this girl doesn’t see how much he wants her. The song doesn’t get really far lyrically, and on this occasion the vocals aren’t that strong. Whilst the verses allow Blunt’s voice to shine, the chorus features an annoying, layered style of vocal that just doesn’t work. The acoustic guitar led sound also doesn’t really do much for the track, with the build up to more of a pop rock stadium sound just feeling very clichéd, and so this is more of a bland finish to the record than a nice end.

2.5/5

Final Review

Moon Landing is an accomplished set of nice folk, pop and rock tracks that show this singer has really mastered his craft. The production is sophisticated and slick whilst the lyrics are catchy, even though at times things are too clichéd. At the centre of it all comes Blunt’s great vocals, and although many people critic him for it, the singer just has this distinctive voice that is emotive and which works well, and this album really shows that he knows how to use his voice to the best effect. Moon Landing is fun, definitely worth a listen, and will definitely see the singer have continued success (especially if he releases Bones as a single)

8/10

Best Track- Bones

Worst Track- Blue on Blue