The Good, The Bad &
The Queen
The Good, The Bad &
The Queen
Virgin Records
By Rusty Roberts
Supergroup. No, I’m not talking about the colossal VH1 show about that group of fools that should’ve hung it up about 15 years ago. I’m talking about Damon Albarn’s 6,437th project, The Good, The Bad & The Queen. This time around, Albarn calls on Clash bassist Paul Simonon, Verve guitarist Simon Tong and legendary percussionist Tony Allen to tell a story about England during wartime.
Those expecting to hear something along the vein of that ‘Whoo-ooh’ song or this decade’s “Rock The Casbah” are listening to the wrong record. Instead of telling the tale of rainy Londontown with a full on rock assault, producer Danger Mouse comes in and keeps it a toned down affair. Rather than opening up with a rocker, and going in to one that’s up a notch, the band starts with the brooding “History Song,” leading to the even more subtle “80s Life.” Under his guidance, programmed beats and loops swirl around Albarn’s reverberated vocals and piano on first single “Herculean.” Second single “Kingdom Of Doom” features a hook-laden acoustic guitar and haunting organ at the forefront, and right when you think Allen’s drum work is bound to come crashing in, it doesn’t. Instead, the sonic waves crash and wash the listener away, almost muting Tong’s solo. Tong does get his chance as Albarn tells “A Soldier’s Tale,” picking a riff reminiscent of something heard on 70’s AM Radio.
At some point, the listener is bound to ask ‘Where is everybody?’ Although Albarn assembled this lineup to tour on the record, each group member had equal contributions, some of which were left on the studio floor at Danger Mouse’s discretion.
Allen barely appears on any of the songs, but it has been noted in interviews that after sessions started, the Mouse was brought in and suggested removing some of his contributions. Obviously his vote ruled. But, that doesn’t mean the collective doesn’t a chance to show off. With a song like “Three Changes,” Allen’s drumming becomes the centerpiece of song, surrounded by ghostly organs reminiscent of The Specials. Simonon’s thumping bass also comes to the forefront as Albarn’s story echoes from behind.
So, is it bad that all of the parts of this supergroup might be super unimportant to one of the most anticipated releases of 2007? Not in the least. The somber tales whisk the listener away, making them feel as if they’re walking down the English streets on a rainy day. If you haven’t sought them out yet on the web, their live performances are better than good. They bring the rock, channeling their past efforts, giving the tales a slight variation. I’m sure the Queen approves.
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