19/4/10
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Plan B is impressive, however you look at it. The guy writes songs; sings;
produces; acts; raps and directs films, making him a rare all-rounder. This
record is about Strickland Banks – a sharp-suited British soul singer and his journey.
Opening track, ‘Love Goes Down’ is a solemn and reminiscent tale of his early life. Downbeat drums and guitar
tabs shape the melody over B’s emotion-clad soulful pipes. It really is shockingly beautiful if you knew much
of his previous. ‘Writing’s on the Wall’ is more upbeat and sounds a bit like Daniel Merriweather, with its husky
delivery. The difference being Drew’s voice is better and the lyrics/melody are resoundingly authentic old-school
American soul.
A White-Stripes-esque beat strings together ‘Stay Too Long’. It’s the first song to encompass his rapping, which he effortlessly switches
between, almost in a hybrid momentarily. A real head-banger, it’s an epic tune – though the blockbuster rap sequence at the end is a bit much. ‘She Said’ reverts to soul with an infectious chorus. The production is phenomenal really
and Mark Ronson-like. ‘Welcome to Hell’ begins a little like ‘Passenger’ (of Iggy Pop fame) and is a tad repetitive, before it breaks down, Smokey Robinson-esque at the
end. Hardly weak though.
‘Hard Times’ is exactly that, speaking of surviving in the face of adversity. Advocating
human compassion and companionship – it’s almost like a modern-day ‘What’s Going On?’ (Marvin Gaye). ‘The Recluse’ is a shocking change of pace, taking on a monumental strings ensemble with
powerful delivery. A personal favourite, you cannot help but be in awe of this
lad’s ability. Strangely ‘Traded in My Cigarettes’ lets the side down slightly and almost becomes a bit formulaic in places.
The noise epic up-tempo, ‘Prayin’ is slightly American preacher and somewhat typecast. Obviously it’s a case of praying for forgiveness to right your wrongs and ease the guilt, but
musically, it’s a step too far. ‘Darkest Place’, as one might expect, is about a, ahem, dark state of mind. The rap is the only
audible part and flows incredulously well. Still, this is no highlight. Retro
soul vibes return, not before time, on ‘Free’. It’s a literal track about “being guilty of no crimes”, but sadly goes back down the Merriweather route, more authentically.
The acoustic guitar makes a surprise appearance on the laid-back ‘I Know a Song’. B’s voice is showing yet another side with its soft stylings. Still, it just doesn’t recapture the earlier triumphant vibes. Finally, ‘What You Gonna Do’ returns to the Ronson-like brass accompaniment, alongside some soul-assisted rap
bars. It’s not bad actually and is a welcome return to form with its authenticity.
Released - 12/4/10
Label - 679
2nd solo album
- Love Goes Down
- Writing’s on the Wall
- Stay Too Long
- She Said
- Welcome to Hell
- Hard Times
- What You Gonna Do
- Darkest Place
- Prayin’
- Traded in My Cigarettes
This isn’t an unfamiliar album conundrum. An opening seven tracks worthy of the greatest
acclaim known to recorded music, followed by unworthy ends. Still there’s no denying either the enjoyable nature of the record or the divine talent of
its composer.
8
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The slightly-catchy, slightly-annoying Brit poppers return with their follow-up.
It’s surprising when a band takes so long to release a second effort – considering it’s usually just a continuation. Still, it’s been 3 years since their eponymous debut and the pop world has changed,
ever-so-slightly!
Opener, ‘This Ain’t a Love Song’ is very mid-tempo, thumping, old-school Brit rock. It’s got the Kaiser Chiefs-trademark sing-a-long “laaas” and Roy Stride’s distinctive, terribly-English lead vocals. There’s nothing particularly wrong and it’s a decent, if predictable start.
‘Little Miss Naughty’ heads off the beaten track with its Auto-Tune intro. That of course, was a red
herring as underneath it all, it’s still very pre-historic Kooks/Fratellis at heart and that is a rightly extinct
genre.
Moving on swiftly, ‘Goodtime Girl’ somewhat redefines the definition colloquially, though with some obvious
traits. We all know a girl out for fun, kicks and fame and this is about being
one of the dis-used rags on her trail and I quite like it, though I probably
shouldn’t. There’s a subtle fade-effect leading into the bizarre ramblings of title-encompassing ‘Famous’. Quoting ‘Vogue’ (Madonna) and really mashed up in its style, it’s another terribly guilty
pleasure.
‘Silly Song’ is more in their usual niche (with a discreet synth) and sounds quite like the opener. Again, there’s nothing particularly wrong and it continues the sound of an enjoyable record. ‘On the Radio’ is not so much influenced by 80s music, as dominated by it. It’s all very Buggles in some places and speaks of good times with a radio not
heard since the days of ‘Radio GaGa’. What is clear, is that the band are progressing and far beyond the typical
constraints of the follow-up.
Things get even more noisier on ‘Blue as Your Eyes’ as a dodgy fade-in-out effect accompanies. It’s just a bit too user-friendly and it’s not even got the likable appeal of other efforts. ‘Posh Girls’ is something that the Bloodhound Gang would surely have recorded if they were
born in Harrow. Immature in content, it’s not too clever in its formation either.
Rockier guitars return, briefly, on ‘1+1’, yet another song with some seriously depraved views of the fairer sex. And
again, yet another pre-pubescent view on life, mixed with a predictable story
of an unwanted pregnancy... oh dear. ‘Take a Chance’ to finish, is more impressively-formed, but maybe it’s the clear lack of invention in the lyrics or just the tiredness clearly
audible. Whatever it is, this is another poor second half with songs even an
adolescent would be ashamed of.
Released - 12/4/10
Label - Epic
2nd studio album
It’s a funny one, deciding whether to stick or twist on round 2. Scouting for Girls
is clearly undecided, though the off-the-wall musical creativity of some of the
early tunes masked the basic song-writing ability of Stride. It’s when that structure returns to a more familiar form that those flaws are
woefully exposed as dated – a real shame.
5
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