Where Blur, Gorillaz, DJ Danger Mouse and the Clash meet
PERFORMERS: Damon Albarn, Paul Simonon, Simon Tong, Tony Allen
The CD: “The Good, The Bad and The Queen.” Get it here
“The Good, The Bad, and The Queen” is a phenomenal work, even though it’s tough to describe. In some circles it’s billed as being by the group “The Good, The Bad, and The Queen,” but the group actually doesn’t have a name. This is the brainchild of Blur front-man Damon Albarn, whose other recent group, Gorillaz, doesn’t even exist in the real world.
This project was originally announced as an Albarn solo album to be produced by DJ Danger Mouse (Gnarls Barkley). Halfway through production the solo album mutated into a new group fronted by Albarn, and including The Clash’s bass player Paul Simonon, freshly un-retired after sixteen years out of the music business, along with Simon Tong, guitarist for The Verve and Gorillaz, and Afrobeat pioneer Tony Allen on drums. Apparently, it was decided that the group would have no name, probably to annoy the British music press.
At first listen, this seems like a bit of a gloomy album with a loose concept–the songs are all centered around life in London. Albarn told MOJO Magazine that it was “a song cycle that’s also a mystery play about London.” Musically, this sounds more like Blur than Gorillaz. There are no rap interludes. Simonon’s bass is as distinctive as ever, so that much of the CD seems somewhat Clash-ish in places, but there are also other influences at work here. It’s odd when you listen to “80’s Life” and at different times think it sounds like The Clash, The Beach Boys, and Radiohead. Lyrically, except for the London concept, this CD picks up right after “Demon Days,” the most recent Gorillaz effort. Despite the mellow atmosphere, this CD could very well become a classic that withstands the test of time.
“Northern Whale” sounds like Blur performing a Stranglers cover. Albarn’s vocals are as recognizable as ever, but he does broaden his phrasing quite a bit on this album. The out-of-it sing-speak of his Gorillaz days is here, but he also croons, and almost belts out the title track. “Herculean” is a mellow Radiohead-like groove that could also appeal to Pink Floyd fans. It shows off Albarn’s talent in writing “headphone” music. In the same vein, “Behind The Sun” sounds like it could be by The Flaming Lips. It’s a delicate little tune that’s a shows off Albarn’s Britpop pedigree.
This is a very laid-back album. It doesn’t have the instant “hooks” of a Gorillaz CD, and it’s not as poppy as Blur’s early work but it’s very rewarding once you get into it. Danger Mouse’s production is remarkable. Instead of sounding like a contemporary rap album, this CD sounds like it could have been produced in the UK in the early ’70s. Simonon’s bass playing sounds like The Clash circa the “Sandanista” album, and Tony Allen’s percussion work is astounding.
The standout track on the CD is the title cut, a seven-minute epic that’s also the most uptempo tune on the album. It also ties the concept together, which explains its position as the last track on the CD. It also sums up the feel of the album with one great line: “Everything is so slightly calm.” Of course, that line comes right before the tempo shifts into high gear and the horns kick in, making this a very unsettling yet attractive song.
This is state-of-the-art neo-progressive Britpop. It’d be great to see what the future holds for this unnamed group, but it looks like this might just be a one-off collaboration. Albarn has already announced his next project, “Monkey: Journey To The West,” a theatrical spectacle based on a Chinese legend that will see him reunite with Jamie Hewlett, the cartoonist who co-created Gorillaz with Albarn.
– By Rudy Panucci
