I was a little unsure as to how good this album would be; supergroups can be a hit and miss affair at the best of times, so, upon listening to it for the first time, I was afraid that it would terrible and would my opinion of all those involved in its creation. I was, however, proved wrong. ... Read review
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himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the d...
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the d...
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enough of him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-on clothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enoughof him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-on clothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enough of him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-on clothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enough of him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-on clothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enough of him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-on clothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
himself with the right people. In his continued quest to shed the redundant image of Damo The Britpop Clown for something more serious, eclectic and influential, the danger that there isn't really enough of him to go around his various projects is constantly present. But in a masterstroke of staging that's never the primary concern. In Gorillaz he aligned himself with the cutting edge, wrapped himself in crayoned-onclothing and took the plaudits as his collaborators made the star turns. But he remained the natural and necessary constant.The Good, The Bad&The Queen(a one-off production rather a proper band, apparently) is an extension of that template, but feels more like Damon's show.The distractions this time are Clash legend Paul Simonon, who prowls the shadows watching Damon's back, building a strong dub bass back-bone, and Afrobeat drummer Tony Allen whose contributions are subtle but efficient. Oh, and Damon's session player of choice Simon Tong, formerly of The Verve. Together they weave a diverse, often beguiling and generally sombre strand of London-based woe, occasionally lifted by the intrinsic hope of the music like on the swelling sun-rise anthem "Herculean". The songs rarely kick through as with Blur and Gorillaz, instead retaining a steady quality and ambience, lead by Albarn's Small Faces-esque piano foundation, but "80s Life" and "Behind The Sun" are real highlights.--James Berry.
piano,voice and guitar..History Song,80`s Life,Northern Whale,Kingdom of doom,Herculean,Behind the sun,The bunting song,Nature Springs,A Soldier`s Tale,Tfhree changes,Green fields,The good-the bad-the queen,Back in the day.
The All-Round Brilliant Review ofGood The Bad And The Queen, The - Good The Bad And The Queenby
duncannichols
Advantages: original, inventive, brilliant Disadvantages: perhaps a bit samey?
...little unsure as to how good this album would be; supergroups can be a hit and miss affair at the best of times, so, upon listening to it for the first time, I was afraid that it would terrible and would my opinion of all those involved in its creation. I was, however, proved wrong. For those who don't know, the band consists of Damon Albarn (formerly of Blur), Paul Simonen (of The Clash), Simon Tong (The Verve) and Tony Allen. The bands sound is ... ...would say they have a good chance of being seriously considered as a ground-breaking band. My sole complaint would be that at times the sound can seem a little similar from song to song; this is obviously an area they will have to work on for their follow-up. But, all-in-all, its only a small complaint. The album is fantastic, and the band seems like the perfect line-up. The artwork is, as you would expect from someone with Albarns's artistic credentials, ...
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Ciao members have rated this review on average helpful
Advantages: Better with each listen Disadvantages: Not a fire starter
...days of pogo-ing and feel good London life. The songs come across with a heavy feeling or rather fat with quality. There isn't really a bad one on this album, in fact none go below "above average" and after giving it a couple of listens I can already see that this is going to get better and better. Much like Matured Beef, or Matured Cheddar or Matured Whisky. ...
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Ciao members have rated this review on average somewhat helpful
Good The Bad And The Queen, The - Good The Bad And The Queen
Main specs
Title: Good The Bad And The Queen, The
Performer: Good The Bad And The Queen
Genre: Rock & Pop
Sub Genre: Alternative
Release Date: 22/01/2007
Recomended Retail Price: 16.99 GBP
Original Release Year: 2007
Label / Distributor: Parlophone / EMI
Producer: Danger Mouse
Pieces in Set: 1
Studio / Live: Studio
Stereo: Stereo
Format: Performer
EAN: 94637306727
Catalogue Number: 3730672
Additional notes
Album Notes: The Good The Bad & The Queen: Damon Albarn (vocals, keyboards); Simon Tong (guitar); Paul Simonon (bass guitar, background vocals); Tony Allen (drums).
Album Reviews: Spin (p.92) - 4 stars out of 5 -- "[Albarn's] told a powerful tale of darkness endured and hope regained, outshining almost everything he's done before."
Titles on disc 1
1.: History Song
2.: 80's Life
3.: Northern Whale
4.: Kingdom Of Doom
5.: Herculean
6.: Behind The Sun
7.: Bunting Song
8.: Nature Springs
9.: Soldier's Tale
10.: Three Changes
11.: Green Fields
12.: Good The Bad And The Queen
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Listed on Ciao since : 30/01/2007
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