Magpie - Stephen Fretwell

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Sublime
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Not applicable
Value for Money	Good

Advantages:	Still undiscovered  -  writes his own music !
Disadvantages:	A couple are samey or too individual for his own good !

Recommend to potential buyers:

yes

Full review

*So, who is he?*

Stephen Fretwell is the best thing to have emerged from Scunthorpe - a town he once described as 'having no soul'. After discovering that academia just wasn't his thing (he lasted a full two days at university!), he dedicated his life to music and fully funded his early stages of his career. At only 23, Fretwell is now signed to 'Fiction Records' and happily produced 'Magpie' at Abbey Road Studios.

His influence comes from Dylan, The Beatles, Cohen and even Jazz although his sound is much more comparable to the likes of James Blunt, Francis Dunnery and Damien Rice. Although he dislikes this categorization, he likes being viewed as the next Ryan Adams or Rufus Wainwright… And being coined as the most promising singer/songwriter of his time, I'd agree with that.

*Why did you pick it?*

Well, I'll be honest; I wasn't all too keen on him when he first appeared on stage at Brixton Academy supporting the delightful Keane. In fact, from his wild mop of hair and his rather relaxed clothing, I thought he was just setting up the stage - how wrong was I! Despite his somewhat Hobo appearances, he sat down on the stool centre stage, strummed a few notes on his guitar and the audience was mesmerized. His voice is beautiful, his style quite contemporary, following the footsteps of Damien Rice/James Blunt yet more low key. (This avoids excessive repition in all high street shops!) I like this; I find it more special when many people haven't experienced his true talent.

So, whilst up at uni - oh yes, I've just started - I was looking for some good easy listening music (to unwind from the ridiculously busy days!) and came across a Fretwell album a friend bought me a while back. I hadn't played this in a long while, but as soon as I put it on, I understood and relived all that I felt the first time I heard it. His songs are perfectly complex, his voice range impeccable, and his lyrics so meaningful. It's rare to find such a gem in the mass commercial music market these days.

*The Album*

This isn't his first attempt at music making - yet it's been his most popular CD to date as he's produced a much cleaner, mature disc. I like the title Magpie - It's different. A magpie is perhaps one of the least like birds, known for stealing babies and all things shiny and yet, in it's own way, it has striking features. The iridescent wings are beautiful and striking, and very individual. If Fretwell was going for this sort of thing for his album, he has fully achieved that.

*Individual Tracks*

1) Do you want to come with me? (3:38)

The Album kicks off with this aptly named track. It opens with a piano key being struck twice, followed by a simple and beautiful guitar sequence. Fretwell himself bares almost a husky northern voice that clearly depicts the words, adding that sense of individuality to the music. The chorus follows before repeating the first verse again - it does take a while to get into and it probably isn't the best song to open with to a new audience… but it fulfills his older fans, perfectly.

2) What's that you say little girl? (3:34)

The pace of this track is faster than the opening track, with Fretwell still keeping the instrumental thin whilst using his incredible vocal range to fall and rise with the music. He sings about great ideas a small child has and how that in today's world, they can never be achieved. It's slightly depressed but the melancholic style only fortifies the lyrics.

3) Run (4:33)

The beginning of Run blends in beautifully with the end of the previous track - despite being different in its own right. 'Run, run like the wind' are the opening words, and you understand that he's quite self unsure. 'What a beautiful tree, it's shame that the root of it's me' highlight this point and are visited in the song quite frequently. A truly wonderful number.

4) Bad bad you, Bad bad me (3:26)

"You look so dainty darling, crossing over the road where the taxis wait in line. You move like violence baby, your stubborn airs get me, every time". These are perhaps the best lyrics on the album, second only to the best song on here. The way he delivers them are breath taking, the complex structure allows it to read like poetry and with such simple ease. This track also has a sort of country feel to it in parts although drums and guitar do hold it together most of the way.

5) Rose (4:12)

This has a much more contemporary edge - the first few seconds sounding like a song of the Sugababes album. But don't get me wrong - this turns into a much more slow song as the faster finger work is delayed by the paced vocals. This song also varies because he has backing female vocals. I like the opening of this track a lot, the instrumental work is genius, but the lyrics are rather slow which does unfortunately bring it down slightly.

6) Lost Without You (2:55)

'I was lost, nothing made any sense, I was tied to a fence' open this track. The first time I heard these lyrics I laughed - I thought they were a poor attempt at reaching a rhyme. However, knowing his work and his thoughtfulness, I relistened to this album and began to appreciate the delicacy of this track. It stops and starts a couple of times and fits so perfectly - more than just an easy listening track I can tell you!

7) Emily (3:35)

This has some beautiful hooks and chords in this song and with a fantastic set of lyrics, it easily makes it perhaps the best song on the album. I can't even begin to explain this song so I'll leave you the very powerful lyrics -
'Emily, you still live inside of me;
And, Emily, you are the fire in my tree;
So next time you fall, please don't call;
And next time you write, I won't stay up all night;
'Cos Emily you, just look at you - you're a tragedy'

8) Lines (2:41)

This has a much more subdued undertone than other tracks on the album and I can't help but link it to a filler track. It shows some ingenuity but doesn't really convey his talent, rather expands on other tracks he's already done. Saying this though, there are some lovely moments and it is nice to have as easy listening.

9) Play (3:55)

Play brings you a more Cold play kind of feel to the album, boasting light drum and piano work as well as the guitar. He opens on some quite punishing high notes and pulls them off with such ease - there is no one else I can think of who can achieve such style in an opening line. This is purely stunning to me.

10) Brother (3:23)

'Brother, you and I both know, what you're doing' - and so do we Fretwell. You're pulling off another well melodied track that boasts the same kind of cheeky lyrics with a perfected accompaniment.

11) New York (2:47)

I like this track because the lyrics are so blasse - The accompanying music strums a well kept melody but the lyrics are a direct contradiction. This is a song that you can put on repeat and will bring a smile to your face every time - least I hope it will! To expand, these are the best lyrics 'Fuck what they say, fuck it if they talk, it really don't matter, we're going to New York' or another, 'And sell cheap cigars to fat, moustachey old men in suits, you'll look cute'. If that isn't comic genius, I don't know what is.

12) - (2:46)

With only a dash for a title, this song promotes curiosity. This song always reminds me of the sad song that the lead male character sings in a musical after his love has been killed, taken away or married to someone else. It has a bit of a Jamie Cullum feel to it, although remains distinctly unique. A short song but a good one.

13) Rain - UK bonus track (2:17)

The vocals on this track are rather hazy and slightly echoey and I don't really think it's worked for this track. I can appreciate him trying to dabble with new things, but with such raw talent, commercial techniques don't need to be used. It's still nice, if not slightly ruined. 'I'm sorry for being so cruel' is a fantastic line to end with though and does add something a little bit extra to it.

14) If you Go -UK bonus track

This sounds a little like an acoustic track by Oasis in it's opening part - however the high notes are those that can only be done by Fretwell (or the guy from Placebo!). I'm not overtly keen on this track, purely because I feel like it's a little whiney. Or at least it does at the time of writing, but it does still mean that I wouldn't skip it on the album because the ending chords finish the album nicely.

*Conclusion*

Pop onto the website www.stephenfretwell.com and give a couple of his tracks a listen to. If you like it then please don't hesitate to buy the album - you won't be disappointed.