Post by ukswings on Mar 24, 2009 0:26:29 GMT 1
Lily Allen - It's Not Me, It's You
Actually, Lily, it IS you. This album is full of clever musical moments, and is produced very well. Lily's vocals are - as they were on her last album, a bit louche and Cockney, and that adds to the charm.
But she doesn't know when to shut up, does she?
Lily is best when she's got heart, and takes everyday feelings and happenings and makes them poignant. There are a few songs on this record in which she does that, but not really enough. She starts out pedantic, with "Everyone's At It" giving us her take on the modern drug-dependent culture, and not managing to offer an original thought ("Why can't we all be honest?" she whines). The tune itself is great, and even has Emerson, Lake & Palmer swoopy synths in it.
"The Fear" is one of the best songs of 2009, period. Here our Lil is a bit more vulnerable, and has some clever lines ("I don't know what's right and what's real/I don't know how I'm meant to feel"). The musical backing is psychedelic and all-consuming, and it works beautifully.
"Not Fair" offers a trompy Western (not Country and Western, but just Western) rhythm, and a story about lust's disappointments. There's even a banjo in there, but it's all about Lil dissing her current squeeze because he's, well, I won't go into details. It's all about Her. Not You.
We get a couple of lectures soon after that - "22" is all about how society treats females as they age, and "F--- You" is dedicated rather belatedly to George W. Bush and his policies which - guess what! - Lily disagreed with . Sandwiched in between these is "I Could Say", which is actually a nice, tender song about losing love - or perhaps in Lily's case, never knowing what it is to begin with. "Back To the Start" is about Lily feeling remorseful about someone she mistreated in the past. "Never Gonna Happen" is a flamenco-soaked kiss-off about someone Lily doesn't like anymore.
Now comes those vulnerable, heartbreaking songs that she's best at. "Who'd Have Known" is lonely, sad, and effective. It's the little moments that count here, both in music and lyrics. The electric piano and the bleeding guitar lines, the lines about "accidentally called me baby" - it all makes for a great tune. "Chinese" - which has to do with takeaway rather than Asian ancestry - has a beautiful vocal and great words - it's all still about Lily, but this time she manages to turn a coming home parable into a poignant and pretty song.
Oh, oh. Here comes another mistake, where Lily tries to tackle the Big Subjects again. "Him" is all about God being a regular guy who likes Creedence Clearwater Revival. Sound familiar? Yeah, it's "One Of Us", but dumber. It's a pretty enough tune, but it's all been done before. And better.
We end our tour of Lily's psyche with "He Wasn't There", which successfully marries scratchy vinyl to her own inimitable style. Is this song about her father?! If so, it sorta ruins the whole thing.
All the above taken for what it's worth, the album is one that only Lily Allen, in all her spoiled brattiness, could make. It's full of unoriginal ideas and cringe-worthy moments, but it's definitely all her. No one else could make an album quite like this, so that tends to balance out some of the bad stuff. Lily is only Lily, I suppose, and there's a uniqueness to her approach that wins through the dross. Some of the time.
I'm giving Lily Allen a rather grudging 6.5 on the England Swings 1-10 scale.
Actually, Lily, it IS you. This album is full of clever musical moments, and is produced very well. Lily's vocals are - as they were on her last album, a bit louche and Cockney, and that adds to the charm.
But she doesn't know when to shut up, does she?
Lily is best when she's got heart, and takes everyday feelings and happenings and makes them poignant. There are a few songs on this record in which she does that, but not really enough. She starts out pedantic, with "Everyone's At It" giving us her take on the modern drug-dependent culture, and not managing to offer an original thought ("Why can't we all be honest?" she whines). The tune itself is great, and even has Emerson, Lake & Palmer swoopy synths in it.
"The Fear" is one of the best songs of 2009, period. Here our Lil is a bit more vulnerable, and has some clever lines ("I don't know what's right and what's real/I don't know how I'm meant to feel"). The musical backing is psychedelic and all-consuming, and it works beautifully.
"Not Fair" offers a trompy Western (not Country and Western, but just Western) rhythm, and a story about lust's disappointments. There's even a banjo in there, but it's all about Lil dissing her current squeeze because he's, well, I won't go into details. It's all about Her. Not You.
We get a couple of lectures soon after that - "22" is all about how society treats females as they age, and "F--- You" is dedicated rather belatedly to George W. Bush and his policies which - guess what! - Lily disagreed with . Sandwiched in between these is "I Could Say", which is actually a nice, tender song about losing love - or perhaps in Lily's case, never knowing what it is to begin with. "Back To the Start" is about Lily feeling remorseful about someone she mistreated in the past. "Never Gonna Happen" is a flamenco-soaked kiss-off about someone Lily doesn't like anymore.
Now comes those vulnerable, heartbreaking songs that she's best at. "Who'd Have Known" is lonely, sad, and effective. It's the little moments that count here, both in music and lyrics. The electric piano and the bleeding guitar lines, the lines about "accidentally called me baby" - it all makes for a great tune. "Chinese" - which has to do with takeaway rather than Asian ancestry - has a beautiful vocal and great words - it's all still about Lily, but this time she manages to turn a coming home parable into a poignant and pretty song.
Oh, oh. Here comes another mistake, where Lily tries to tackle the Big Subjects again. "Him" is all about God being a regular guy who likes Creedence Clearwater Revival. Sound familiar? Yeah, it's "One Of Us", but dumber. It's a pretty enough tune, but it's all been done before. And better.
We end our tour of Lily's psyche with "He Wasn't There", which successfully marries scratchy vinyl to her own inimitable style. Is this song about her father?! If so, it sorta ruins the whole thing.
All the above taken for what it's worth, the album is one that only Lily Allen, in all her spoiled brattiness, could make. It's full of unoriginal ideas and cringe-worthy moments, but it's definitely all her. No one else could make an album quite like this, so that tends to balance out some of the bad stuff. Lily is only Lily, I suppose, and there's a uniqueness to her approach that wins through the dross. Some of the time.
I'm giving Lily Allen a rather grudging 6.5 on the England Swings 1-10 scale.