Razorlight-Slipway_Fires-(Proper)-2008-DV8

Artist: Razorlight Title: Slipway Fires Label: Mercury Genre: Indie Bitrate: 198kbit av. Time: 00:38:46 Size: 58.14 mb Rip Date: 2008-11-03 Str Date: 2008-11-03 1. Wire To Wire 3:05 2. Hostage Of Love 3:44 3. You And The Rest 3:25 4. Tabloid Lover 2:57 5. North London Trash 3:28 6. 60 Thompson 2:37 7. Stinger 4:17 8. Burberry Blue Eyes 3:33 9. Blood For Wild Blood 3:11 10. Monster Boots 4:34 11. The House 3:55 Release Notes: Reasons for Proper: Track 2 had a glitch and had no id3tag, plus it was mis-spelt. Tracks 3 and 4 were tagged the wrong way round. Few contemporary Brit rockers have been more widely ridiculed, or even loathed, than Johnny Borrell. It says a lot about the timid, softly-softly approach of the current crop of musicians that JB should be so reviled. On the face of it, Johnny's crimes match the standard-issue charge sheet of the young upstart - modest talent struggling to inhabit an ego the size of Wembley Stadium, supreme arrogance fuelling a mouth as big as the Mersey Tunnel. And on the third Razorlight album - a record once thought to be in jeopardy because even Johnny's bandmates found him overbearing - he plays to the gallery. North London Trash is guttersnipe biography in the style of Borrell's heroes The Clash, and offers a cheeky but honest pen portrait - 'I'm really no one special/But I've seen you do much worse.' On folksy ballad Hostage Of Love, he's the ultimate martyr for the cause - 'Words of derision I have swallowed with a smile/For telling my story I've been crucified'. Borrell's Christ complex may, of course, mask a small whimpering soul hounded by self doubt. But it's the part he's chosen to play. And he plays it well. Surely it's good to have ambition, something to aspire to? But that means aiming higher than the shooting fish in a barrel funk gunk of Tabloid Lover. Which, to his credit, he does for the most part, snaring the angry modern poet mantle on Blood For Wild Blood, before launching into Burberry Blue Eyes - a seductively vicious attack on an aristocratic airhead shagging indiscriminately while slumming it on the King's Road. In time-honoured Dylanesque fashion, Borrell matches sensitivity to the savagery. You And The Rest ruefully contemplates the challenges of monogamy ('There are only two women here/You and the rest that pass me by'), while the silken, reflective 60 Thompson, savours the attractions of togetherness. Throughout, Razorlight's rock literacy is at least GCSE Advanced Level and Johnny boy's ability to rustle up a persona that winds folk up seals the deal. Someone might want to break it, gently, to Chris Martin and co that when it comes to making rock 'n' roll, niceness and modesty really aren't that important.

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