Damon Albarn has been behind some of the most interesting music in the last decade, including cartoon band Gorillaz and rock band Blur. I would’ve never thought the man who introduced himself to America with an enthusiastic “Woo hoo” would be capable of everything he’s done.
Well, he’s back with a new super group of sorts: The Good, The Bad and The Queen. This band finds Albarn with ex-Fela Kuti drummer, Tony Allen, ex-Clash bassist, Paul Simonon, and former Verve guitarist, Simon Tong. Born from recording sessions for Albarn’s solo project, this band came together with brilliant results.
The album opens with “History Song,” a sort of folk meets afrobeat concoction. The song marries Simonon’s bass and Allen’s drumming with soft acoustic guitars. They throw in an organ for good measure. This song actually reminds me of “Guns of Brixton,” my favorite Clash song. Needless to say, they had me at the first syncopated drum rhythm.
The first single, “Kingdom of Doom,” finds Albarn in a dark, almost Morrissey-like space. I love the way Simonon’s bass shines through on the track. The switch from dark folk to bright piano-driven pop provides an interesting juxtaposition. Albarn’s lyrics further enhance the song, weaving together a tale of an anesthetized kingdom that doesn’t ask questions.
One of my favorite tracks is “Nature Springs,” a bass-heavy track that finds Simonon and Allen’s contributions shining through. Albarn sings, “Nature springs are caught at war/The imperious demands are the local law,” adding the sort of dark, political imagery that one would find on an Africa 70 album.
Another highlight is “Three Changes,” a heavily ska-influenced ditty that finds each band member adding his own flare. The track bounces along as Albarn sings about a “stroppy little island of mixed-up people.” The song is essentially about society gone awry. Instead of being preachy, he remains vague yet transparent and it all comes together nicely.
My absolute favorite track is the album’s closer, “The Good, the Bad and the Queen.” This track lets you know why each band member is equally important. Allen’s drumming gives the track energy. Simonon keeps the song grounded. Meanwhile, Albarn’s piano and Tong’s guitar drive the song along. Everything in this song melds together perfectly. I couldn’t have imagined a better way to close this album.
If you’re looking for the same sound as Gorillaz, this is not it. Albarn pays more attention to writing lyrics that move the story along rather than catchy hooks. It’s still accessible, but not in that “Feel Good Inc.” way. I only wish Tony Allen’s presence had been felt a bit more on the album. He is one of my favorite drummers, and the album’s greater moments occur when he’s playing.
Overall, Albarn has put together an awesome collection of songs that weave together a poignant tale. I’m always leery of super groups, because they hardly ever live up to the hype. This could have been a total mess, but these guys found a way to take all of their respective influences and make it work. Bottom line: this is a great album of darkly energetic songs and it’s totally worth your money.
