The Good, The Bad & The Queen - The Good, The Bad & The Queen

YOURZ

I've made my love of Damon Albarn apparent in previous posts so there's no need for me to rehash it here.  Suffice to say, though, this is yet another piece of musical genius by the former Blur lead vocalist.  The double bonus is The Good, The Bad & The Queen is produced by one of my favourites as well, Danger Mouse, whose deft touch proves as potent here as it does on anything else he handles. 

But the bonuses just keep happening.  Ostensibly a super group, TGTBTQ also has Paul Simonon (former bass player for The Clash), guitarist Simon Tong (formerly of The Verve and various other bands) and afrofunk pioneer, Tony Allen on drums.

All the tracks on the album were co-written by Albarn and Simonon and sound something like a cross between latter Blur tracks and the pop of Albarn's other band, Gorillaz.  But there is no mistaking Simonon's influence and his blending of dubby lines with more straight-forward bass riffs.  It is perfectly suited to Tony Allen's simple but sharp drumming. 

The most enjoyable thing about this album is that it sounds like a band who've been playing together for some time, not cobbled together for this session.  It could have easily been a Damon Albarn solo record but the man is a serial collaborator with the results speaking for themselves.  Personally, I'd like to see this lineup continue but of course, this depends on whether Albarn can stop long enough for the others to catch up to him.

VERDICT: TURN IT UP

MINE

It's really good, but even after several plays there isn't one song or moment that remains with me.  I mean, it's Damon, so I could listen to him sing the street directory.  And of course all the songs are beautifully put together and produced.  It's an album I could cheerfully listen to at home, in the car, or anytime, but there was no "Wow" moment in it for me.  Not that it's background music, it definitely rewards the careful listener, with hints of the Kinks among other trace elements in this semi-supergroup musical melange. 

Maybe it's because I'm so used to musical excellence from Damon that I find this altogether beautiful but with no particular piece that calls to me.  Not that that's a bad thing, you understand.

VERDICT: TURN IT UP

For more information: http://www.thegoodthebadandthequeen.com/

The Black Keys - Attack & Release

YOURZ

Produced by the 'he's everywhere, he's everywhere' producer (and a personal favourite of mine), Danger Mouse, Attack & Release is The Black Keys' fifth full length album.  It's also the first album of theirs I bought. 

Like a lot of the new millenium bands, this duo slipped by me while I was squirrelling away in my home studio, writing beats and rehearsing the little hip hop band I was producer for at the time.  Another part of my avoidance issues (and this was true with my problem with The White Stripes as well) was I wasn't convinced a two piece band could sound 'proper'.  I'm such a fan of fat bass and drums, the idea of reducing the formula to vocals, guitars and drums didn't really sound like it would work, at least not in a way that would interest me.  But I am nothing if not willing to be proven wrong.

Attack & Release is a damned fine record of what could be called modern blues rock.  I should have trusted my ears instead of ignoring The Black Keys based on what I'd read about them.  I've listened to both this and their first album, The Big Come Up, many times over now and haven't gotten sick of either. 

Oh, and the whole debate Mine mentions below kind of negates itself when you read The Beatles admitted to openly pilfering riffs and licks from their favourite artists of the time.  The development of most modern musical genres has often involved magpie-ing bits from other artists and adapting them for new use, with the blues being the most prolific in this habit.  I'm eagerly looking forward to their new album, Brothers, to see what they've stolen this time.

VERDICT: TURN IT UP

MINE

Blues-rock.  Meh.  I can see why this album's jumped into our collection as YourZ is both fond of  the genre and has a tendency to follow producers he likes, being a producer himself.  And this was put together by Danger Mouse, who we both think is shit-hot.  But that doesn't change the fact that the songs are generally what you'd expect from any old blues-rock band playing in Generic Pub, Anywhere.

That's apart from the closing number, which absolutely staggered me.  Not because it's better than the rest of the album, which it is, but because it so blatantly rips off the Beatles' Don't Let Me Down.  Which has been pointed out on numerous Black Keys forums in the past so I won't belabour the point.  (YourZ sez: yeah, but, no, but, oh, see above...)

VERDICT: THROW IT OUT

For more information: http://www.theblackkeys.com/

In our collection we also have The Big Come Up

Gnarls Barkley - St. Elsewhere

YOURZ

On another blog I write, I recently named Danger Mouse as my favourite producer of the decade.  Let's recap for the sake of the discussion: he started with the mashing of The Beatles' White Album and Jay Z's Black Album.  Whatever there is left to say about this, there is absolutely no denying its scope and genius. 

Then there's his production for The Gorillaz' Demon Days, undoubtedly a modern classic, The Good The Bad and The Queen's debut and for The Black Keys Attack and Release.  He rescued Beck's flagging career with his production of the under-rated but brilliant Modern Guilt.  He also added his weight to a staggering array of other projects.  His touch was not just golden, it almost guaranteed platinum success.  But it does make me wonder when he's had time to sleep in the last half dozen years or so?

St. Elsewhere came across as a breath of fresh air in pretty tired and hackneyed scene.  Like Katalyst, Gnarls Barkley paved their own way, relying on both fresh sounds and updates of old school ideals to bring something altogether new and uniquely their own but somehow also comforting and familiar.  Cee Lo continually hits the mark and astounds with his versatility.  From the gospel-on-steroids of the first track, appropriately called Go-Go Gadget Gospel (don't you just love a good piece of alliteration), the soaring chorus of Crazy, the loyal interpretation of Gone Daddy Gone, the pumping rhythm of Smiley Faces, the authentic modern soul of Online and so on, Danger Mouse pulls out all stops and Cee Lo meets it all head on.

I don't doubt Danger Mouse is going to continue to push himself and those he works with to achieve bigger, better and grander musical masterpieces, but as a standalone work, St. Elsewhere is a shimmering success and a constant delight.  Now, why don't we have The Odd Couple?

VERDICT: TURN IT UP

MINE

Okay, YourZ has said it all here - hail, hail Danger Mouse.

And I love this album with its high-class bop and classy lyrics.  But it's one of the slow songs that makes it really stand out for me.  I understand why YourZ hasn't name-checked Just A Thought - we've discussed together many times the fact he doesn't really understand depression (YourZ sez: I think I do have an understanding of it - had too many friends suffer it over the years not to have some small understanding) he's never experienced it (lucky bastard).  This song expresses depression perfectly - and the final lines are just exactly how I've felt when I've had my deepest depression and yet have tried to shake it off when around my nearest and dearest.

And so I've tried/ Everything but suicide/ But yes - it's crossed my mind/ But I'm fine

Getting out of that deep "Great Depression" isn't easy, and happens in different ways for different people.  Me, I favour counselling, diet, exercise, avoiding alcohol and drugs.  Others take different routes, and I say - whatever works.

I didn't mean to be all down about Gnarls - this CD has so many great songs on it I'm also wondering why we don't have The Odd Couple.

VERDICT:TURN IT UP

For more information: http://www.gnarlsbarkley.com/