The Good, The Bad and The Queen
The Good, The Bad and The Queen
Score:82
Reviewer: Justin Pearsall
Label: Virgin (USA & Australia), Parlophone (UK)
Reviewed: Feb 12th '07, Released:2007
Once upon a time there was a Britpop explosion. It was led by two distinctively British bands, one named Oasis and the other known as Blur, two bands that shamelessly defied the dying remnants of grunge, employing a keen sense of melody and a dapper optimism instead of distortion-soaked guitar. It lasted a few years. It was madness. But like just about any fad, the arse fell out of it before you could say: “What’s the story?”
This is where we find our fork in the road. Oasis, fuelled by their sense of self-importance, took the low road, rehashing previous winners on one rubbish album after another. Damon Albarn’s Blur, however, took the higher road, challenging expectations and fashioning a career that went in exciting new directions. It proved Albarn to be the true godfather of British pop. Now, with The Good, The Bad and The Queen, Damon Albarn has again proved that there is no substitute for innovation and risk taking.
The Good, The Bad And The Queen is a textured and sprawling release. It swings from sprightly pop to harder-edged, rhythmic numbers with a general disregard for conformity. But regardless of the myriad of directions at play there is an overarching musical mood: a rich doom and gloom cloud that hangs like thick fog. Thematically, this gloom reflects an industrialised state, a modern London, where for all improvement and ingenuity there are still the same problems.
Originally touted as a solo release, Albarn has also exercised wise judgement in surrounding himself with such a complimentary team of musicians and producers. Of particular note is the virtuoso drumming of Tony Allen, whose jazz-infused, syncopated rhythms drive the circus psychedelia of ‘Three Changes’. And while Paul Simonon (Bass) and Simon Tong (Guitar) prove more than capable, it is the production of Danger Mouse that is the most essential non-Albarn element of this album.
The Good, The Bad And The Queen affirms Albarn as a musical venturer. While his post Britpop Blur period proved that he had the foresight to get off a sinking ship, here he and his supergroup are leading the listener into the London night and a bleak and bleary reality. Such a journey is not always melodic and easy, but it is an honest and well executed pilgrimage.
