Customer Reviews

Good the Bad & The Queen

5 star:		(25)
4 star:		(17)
3 star:		(9)
2 star:		(5)
1 star:		(2)

 

 

See. This is a prime example of how we hold artists back with "good ol' days syndrome". I can explain this record in one fell swoop: If this were a debut recording by a unknown band with unknown members, people and press would be gushing all over this.
I didn't care for Blur and Verve was ok in my book, but remained on the periphery due to its short lifespan, and Simonon hasn't done anything since The Clash. Since the preconceptions were subdued, I listened to the record the first time with an open mind. I wasn't waiting for that Blur blitz or that Verve hook or that Clash swagger. As a result, I have a record that is truly engaging and beautiful, especially if you've ever been to London.

Let's being by saying that this album DOES NOT sound like Blur, Gorillaz, The Clash or The Verve. If you are expecting at least one song to sound like any of the aforementioned, you will be greatly disappointed. That said it is also fair to mention that the talent from those three band members come together in an interesting fusion of skill and concept.

Damon Albarn has said The Good, the bad and the queen is not the name of the band but of the album, and his four piece orchestra is much more difficult to explain that what journalists or even reviewers would like to narrow them down to. And that could well be why this record results so rich in concept and so ethereal in execution.

The somber and at times extremely claustrophobic sound serves to transport the listener to different aspects of London. Just as the lyrics cannot be constricted to either pop or punk, there is a certain mood that prevails all along the album, and it maye be (dare to say) formulated as an electropop-rock-folk allusion to the background of each of the players.
"Kingdom of doom", "Northern Whale" and "80's life" are the standout tracks, but it is in "Herculean" that they summon up all that feeling of overwhelm and almost despair one gets to know while listening to this.
Closing track, which happens to have the same name as the album, is a prolonged exectuion that quite doesn't fit with the rest of tracks but treats us to the showcase of wild drums, exquisite guitars and the omnipresent, yet vague vocals that we have come to indulge in.

If you find this review confusing then you have a leading point to listen to this record. I did not approach it thinking it would remind me of Blur or Verve, but in a way it strives to get past that, and in my opinion it takes it to another level that even they might be wonder about. Call it an acquired taste, The Good, the bad and the queen is an album to savor more than once and discover along with your own secrets.

First thing you notice is the dub bass of Paul Simonon then Albarns dark understated vocals- and throughout this excellent album the odd arrangements and sounds form a hybrid with electronic and disconnected classical strings hanging from very simple songs. Theres dub- a little britpop but mostly an odd kaleidoscope of sounds and a Kingston meets the eastend vibe. Organic folky roots music with a post 911 feel of gloom. This is Gorillaz without the trends or guest stars- this is a well assembled cast of excellent musicians creating a unique experience- timeless but modern.
This will take a few listens as the pace is slow to mid tempo and pretty dark- almost blurred at times. Albarn is an excellent songwriter and this may be his best work yet and former clash bassist Simonon is superb and looks great despite his broken nose in the cd photo. Tong (ex) of the Verve and Tony Allen both add exactly what is needed- nothing fancy but nothing common or predictable. Theres an abundance of piano but not in the coldplay vein- more traditional english music hall. To sum it up this resembles the perfect mix between later period Blur and the moody slower Gorillaz material put through producer Danger Mouse's sonic treatment. So far the best album of the last few months by quite a distance. The whole album is consistent in tone and style and is once again a very special project that transcends the history of its members.

As if the output of Blur wasn't enough, then there was Gorillaz, the Mali Music cd, and now this. Definitely its own type of sound, maybe a touch of Gorillaz in "Northern Whale", but then again, it could've been on Blur's "Think Tank" cd. Otherwise, it's definitely its own animal. The cd is great as a whole, but the standouts for me were the title track, along with "Northern Whale", "History Song", and of course, "Herculean". Definitely one I'll be listening to quite a bit.

Once again, Damon Albarn has created an amazing band; first with the Gorillaz, now this great new band with Paul Simonon and their drummer, Tony. This first album, which has hit songs (already!) Herculean and Kingdom of Doom. However, listen to the whole album, not just these two songs, 'cause all the songs are great. It's a British album, but it's a hit everywhere. A must-have for Gorillaz and Blur fans.

There is so much going on in each one of these songs that over repeated listens the songs change, the melodys change, the whole landscape of the album changes.I was never a big fan of Blur, but I loved the Clash and Fela Kuti, so I took and chance with this one and I love it. My daughter, who does not like slow songs, loves this c.d.. so how anybody could call it boring is beyond me.

I will begin by emphasizing that this album is not like Blur or the Gorillaz. Having said that, if you are an individual that knows good music when you hear it, you will appreciate and love this album.

For starters, whats not to like about a collaboration between Damon Albarn, Paul Simonon and Danger Mouse?

Damon Albarn - Lead Vocals & Keyboards
Paul Simonon - Bass
Simon Tong - Guitar
Tony Allen - Drums
Danger Mouse - Producer

This album is a lot different then what I had expected. One reviewer classified this album as "electropop-rock-folk." I would almost say I agree with that statement, however it also feels a little like contemporary rock on top of all that. Regardless of what genre you would classify this as, it certainly pushes genre boundaries and adds new elements to the mix. Albarn & Danger Mouse are truly innovators. Considering Danger Mouse is mostly a hip-hop producer, I found it odd that he would undertake this album. However his addition to the album can be felt ... and it more then likely would not be the same without him.

The overall feeling I get from the album is very reflective and thoughtful. It is a beautiful and inspiring melancholy, if thats possible. Imagine your Jerry Maguire leaving the office after you just got fired. Instead of listening to 'Free Falling' on your ride home, your thinking about everything .... and listening to this cd.

The album has 12 songs, most of them are exceptional. There are a few on there you tend to skip over when you listen to it once again, however its pretty much all great music.

If you plan on purchasing a la carte, then consider these songs (in order)

Track 2 - 80's Life (This song is amazing ... makes you feel like your a kid going to the bus stop)
Track 5 - Herculean (the "star" single that has been promoted on iTunes ... a little Gorillaz feeling)
Track 11 - Green Fields (This song stands out from the feeling of the overall album)

Other great songs:
Track 1 - History Song (good way to begin the album ... dark piano on the end)
Track 4 - Kingdom of Doom
Track 8 - Nature Springs (has a little Pink Floyd the Wall Feeling to it)
Track 12 - The Good, The Bad & The Queen (nice way to end the album)

The album came with a cd insert of some interesting doodles, as well as lyrics for all 12 songs. The one thing I do not like about this album is that there are only 12 songs!!! I didn't want the cd to end.

Enjoy.

Rusty Rothwell
Louisville, KY

Imagine fragments of classic Britpop bands -- the Clash, the Verve, and Blur -- coming together into one brilliant multifaceted supergroup. That's the Good, The Bad and the Queen,

Okay, the band technically has no name, but for purposes of clarity, I'm going to call it by their debut's name. But even without a name, this astoundingly vibrant group creates one of the best albums of the year this far -- a scintillating, gritty concept album, full of weariness and ennui.

It kicks off with a slow ponderous acoustic guitar, which slowly melts into a dark web of organ, keyboard and electric guitar. "A ship across/The estuary/Sundays lost/In melancholy," music legend Damon Albarn murmurs in his low, softly rough voice. "A storm of strings/Far away/The hangers on/Saved the day...."

That was just the buildup to the songs that follow, focused on life in London today -- thoughtful, confused, melancholy, but with a bit of hope. The songs flow alog like a rive, intertwined but distinct -- mostly slow-moving rockers wrapped in ringing and shimmering synth, plinking piano, gritty bass and little zips of sound, like dark threads.

I'm assuming Albarn and Co. wanted this to have a sort of haunted urban feel, like someone walking through London's night streets and musing on what he sees. It's that extra depth that takes "The Good, The Bad and the Queen" from a great album to a magnificent one, themed around the bittersweetness of life in modern London.

The Verve's Simon Tong and the Clash's Paul Simonon weave their ringing guitars and slightly fuzzed bass into deep, intertwined melodies, backed by some solid subtle drums by Tony Allen. Finally there's some some ripples of organ, sweeping violins, plinky piano, and undulates of dark synth. It's even more haunting that way. The instrumentation is all woven together, with this guitar or that organ slipping in and out of sound.

But as brilliant as the instrumentation is, Albarn's voice is the star of these songs. His voice is pretty smooth, but with a rough edge like someone about to cry. And in certain songs like the autumnal "Bunting Song" and the title song, he sounds like he's wearily looking back on his life and struggles.

And the lyrics are are layered and intricate as the instrumentation -- allusions to politics, war and sorrow fill it ("Ravens fly/Across the moon... There's a noise in the sky/Following all the rules/And not asking why"). But there are glimmers of hope and love too: "And I was losing it all the time/But she stayed with me and found me out and above all things I've learnt/It's that honesty that secures the bond in the heart."

"The Good, The Bad and the Queen" is a virtually flawless album by a brilliantly talented superband, who have turned out some of the darkest, deepest, most unique rock music of this year. A magnificent piece of work.

Damon Albarn seems to have the knack of combining a steady stream of subtle disillusionment with a laid-back, catchy tune. 'Demon Days' exploded with this atmosphere, and it continues on his latest project 'The Good, The Bad, & the Queen'. I think that the comparison with Gorillaz should end there, though, as this is a project that is a bit more subtle, focused, and introspective. In this release, Albarn & Co. have provided a glimpse of the battle against life's mundane, from the distinct British perspective. From the hallucination and isolation of tide-end towns, to the 'blessed routines' of habitually working oneself to death after breakfast, life during (seemingly) endless war, all taking place 'on a stroppy little island of mixed up people', I get a more modern, British equivalent from the Talking Heads line...."Well, How did I get Here?", or even an addendum to the Beatles' 'A Day in the Life'.

From the first song to the last, there's an ethereal feel to the album that rises as the songs progress. All the songs are grand, but 'Northern Whale' seems to be my current favorite, with 'Green Fields' 'Herculean' and TGTBTQ as other heavy standouts. When taken on the sum of its parts, this album amounts to pure rock & roll.

Some instances reflect the way of making music of the components of the band, but results are very impressive. A new way for making music a' la Waits.
Very interesting