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The Good, the Bad & the Queen Review

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youthquake

The Sensible One from IN

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A British supergroup comes to together and makes music describing the dark and rainy atmosphere of the London streets.

Reviewed on 07/14/08 Plays: 1

Pros: super clean bass tones, punchy drums, atmospheric tone

Cons: more drums, less carnival-esque organs, needs some gang vocals

I think this cd could be better...it lacks the power that seems like should be there. Though each member plays their own part well, something just isn't quite there. This is, technically, a solo album, as it started off, but now it is a gathering of musicians that defined certain eras of London, and here we can find them collected and adding to the more modern perspective created by Albarn.

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Summary

To open this oddball supergroup's debut, Paul Simonon hints at "Guns of Brixton," and when Tony Allen's flex rhythms come in, there's a shadow of Fela Kuti, too. Then Damon Albarn's slow grit of a voice enters--framed by Simon Tong's flecked guitar. And collectively, The Good, the Bad, & the Queen is quickly sui generis , adamantly different than anything you think you've heard. A band with this much power has at least two options: to cut loose raucously or to mute their overt power for a more covert, dub-inflected atmospheric potency. Smartly, Albarn and his crew opt for the half-light of elastic bass lines, the clouds between the parentheses of drums--the covert. It's not until "Kingdom of Doom," the erstwhile 'single' of the album, that motion expands beyond the languorous. And even then, Tony Allen largely sits out. You get the full flush of Simonon and Allen on "Three Changes" shuffling time even while holding the tempo to a dubbish gait. It's not Blur, the Clash, Fela, the Verve, or Gorillaz. It's more than just names on albums. --Andrew Bartlett

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