As Lise Thibault reminded us, “The Queen can do not wrong” and Sir Paul – a “close” to the queen casually! – demonstrates this more admirably than the former Lieutenant Governor of Quebec with an 18e solo album in career that takes him where we did not expect him.
WITH A LITTLE HELP FROM … NOBODY!
The magazine Forbes reported in 2010 that “Macca” raised between 400 and 600,000 US dollars each holiday season since the launch of Wonderful Christmastime, his holiday song created during the recording of McCartney II (1980). Despite his ugly duckling looks, the hit synth pop exploding with grandiloquent Christmas standards has nevertheless become a must in December for 40 years already. And that is without counting the sums still raked in by the Beatles.
Anyway, Paul McCartney is really not to be pitied and could take it easy on a mountain of Scrooge-style gold coins. However, the singer-songwriter instead took advantage of the pandemic to pursue a series of homonymous albums in which the principal concerned touched all the instruments.
TO PLEASE YOURSELF
Two years later Egypt Station, a satisfying LP, without more, McCartney “lets loose” with a more raw rock UFO where voluntary simplicity dominates, ideas abound (Lavatory Lil is bluesy while Find My Way, it could appeal to fans of … Ratatat) and, above all, where the pleasure is contagious.
To listen, the smile (finally) on the lips.
Over the years, I have awaited with more and more excitement the annual compilation of punk covers of the Verdun label Slam Disques and this wooden wedding does not disappoint. Quickly: a cover ska punk hop the life of Denis Drolet delivered by Slater & Fils, a “Bad Religionesque” adaptation of Madness in four by Daniel Bélanger proposed by Hate It Too and, as a bonus, Dee Sniders – yes, yes, from Twisted Sisters – who makes a very noticed appearance. A very appreciated cute sin.
Barely five months after the publication of folklore (a surprising album launching an indie folk variation in the career of the singer who has already distinguished herself in country, then pop), Taylor Swift amazes again with another surprise album halfway between her two styles of predilection of recent years. Unfortunately, the result is a production that is too neat for the check-shirted class and too minimalist for its pop audience. The album evermore turns out to be appreciable, of course, but falls short of the previous work. Pity.
Hop! I take the liberty of sharing with you my review of this very relevant album, because it is finally making its appearance on web music platforms this week. Indeed, the cult Quebec rap collective resurfaces and brings the adage “when times are tough, the tough ones are active” up to date at the same time. As vociferated on the fire The assault, on this LP old school which is not in nostalgia, nor in lace. A snub, wanted or not, still interesting to the bifurcation more left field and more and more popular within their musical genre in recent years. To (re) discover!
The Ska Is Here To Stay
Not only is ska indestructible, but 2021 could well be the year of the fourth wave of popularity of this polarizing genre, according to Gwen Stefani’s return to her roots on Let Me Reintroduce Myself last week, the recent anniversary of local label Stomp and the release of two compilations anchored to the musical style this week, including The Ska Is Here To Stay which brings together nearly thirty mostly unknown pieces (and poorly preserved, if we are to believe the often appalling sound quality of the production). Especially for fans.