Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, a series of weekly reviews by Charles Connolly – an artist in his own right. Here, Charles delves into the greatest brand new singles brought to you by the best unsigned artists on our electrifying and eclectic set of 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.
𝙒𝙝𝙚𝙣 𝙏𝙝𝙚 𝙎𝙩𝙧𝙚𝙚𝙩𝙨 𝙁𝙖𝙡𝙡 𝙎𝙞𝙡𝙚𝙣𝙩 – 𝘽𝙧𝙮𝙖𝙣 𝘾𝙤𝙤𝙥𝙚𝙧
Charles reviews a charmful man…
I am going to indulge myself in sticking with a theme. Last week I wrote about two amusing yet thuggish Mancunians. 30 years ago they took over Britain. Shortly after that they took over the world. The same thing happened 30 years previous with four amusing yet charming Liverpudlians. Both sets of Northerners were always incredibly entertaining in very different ways when it came to interviews. In both cases, it was a welcome back to Britannia ruling the waves – the radio waves. Before the mop-tops, it was a quiff-laden pelvis. Before the coked-up thugs, it was… Um… Hmm… Who was world famous before them? An unusual man who walked backwards with style? The thing is, Britain was finally back on top form; certainly in terms of popularity anyway. But it wasn’t just one beat combo to rule the roost; they were simply the top of the league. Many other Britonians marched to the beat of the same drum. But aside from going with this united flow, there was competition. There was supposed rivalry for these young men from Liverpool. This rivalry was a band my father likes to call The Strolling Prunes. And what excellent publicity it turned out to be! There are two important facts to be known however… One: these two “rivals” were actually good chums, and it was all just a well planned media binge. Two: no one could seriously even try to pretend that these Southerners were a threat to the greatness of these Northerners. They just weren’t as good. Example: compare Sgt. Pepper’s Lonely Hearts Club Band with Their Satanic Majesties Request…
Which brings us back to the present’s relatively recent past; the Mancunian era of 30 years ago. This biggest British band since the you-know-whos (excluding royalty) also had direct competition. And again from the South. The rivalry seemed a little more genuine, which always makes things a bit more interesting. The habitual slanging match was endlessly entertaining and just so much fun! And media-wise, it was a dream. Both bands did well from it. Outside Britain, this Southern British band was not nearly as mega as those hard Northern men – except in Japan, where they were (for some reason) HUGE. In Britain though, it was the biggest “rivalry” I have known in music. But did the South once again pale in comparison with the North? Well, here’s the funny thing………… NO! All right, I will finally start mentioning names. I am talking about Blur. The Gallaghers were self-confessed Beatle-idolisers. I mean, true fanatics. To the extent that Liam named his first son, Lennon!! Remove the wall-of-sound guitars, and most of their songs are like pastiche Beatles/Lennon songs, complete with scores of Beatle lyrics and Beatle references. And yet, many of these songs still manage to be great, sounding just like “Oasis songs” – clever lad, that Noel fella. He’s even confessed (rather too proudly) to nicking pretty much everything he’s ever “written”. I suppose in some ways, he could be considered the first form of A.I….! The thing is, the story is rather different with Blur. Aside from the odd Bowie inflection, they are basically unique. They are completely original. They always have been. I really do believe that Blur is one of the most underrated bands of all time, and that Damon Albarn (despite that infamous voice) is one of the greatest melody writers of all time. Yet with last year’s reunion, combining shows at Wembley and a new album (sound familiar?), it got relatively little press, worldwide. Unlike the 60s mob, the best did not win. Blur also didn’t even chronologically follow Oasis; Blur had released 3 albums before the release of Oasis’ first. In fact, Oasis started releasing records after all their potential rivals (and of course their idols): The Stone Roses, The Charlatans, The Verve, Suede, Pulp and even Radiohead (not that they were remotely competing in the same sport).
So yeah. With stunningly original and frankly thrilling songs such as There’s No Other Way, She’s So High, I Know, Sing, Young and Lovely, For Tomorrow, Popscene, Girls & Boys, End of a Century, Parklife, Trouble in the Message Centre, Magic America, This Is a Low, Stereotypes, Country House, Charmless Man, The Universal, He Thought of Cars, It Could Be You, Tame, Beetlebum, Song 2, Death of a Party, Look Inside America, Tender, Coffee & TV, Out of Time, On the Way to the Club, aside from being slightly exhausted or nauseated by that long list, I have a point to make. Unless you’re a massive Blur fan, the chances are you won’t know most of these. In probable fact, most of you will know a maximum of perhaps 3 or 4 of them? Ain’t that awful. I mean, I would love to say this article was sponsored by Blur, as it perhaps might seem, plus I’d make a bit of money. But this is only about my love of music. This has always been my point. It’s not just about the song I pick each week (don’t worry, it’s coming), but about music in general. And stuff in general! Because why not. My point is that you musicians from all over the globe should give them a good listen. Damon and the boys deserve more praise than Oasis. And I love Oasis! But Blur were my Beatles of the 90s. I have made a playlist of all these Blur songs on Spotify and Apple Music, just for your delectation. Yes, I did this just for you – and it took FAR too long.
So why do I pick NOW to mention Blur? Two reasons. One: it follows on nicely from last week. Two: you’ll see. My pick this week is none other (aside from Blur) than our very own Bryan Cooper with his brand new single, Where The Streets Have No Name. My mistake: that’s U2. With his brand new single, When The Streets Fall Silent. It was quite a simple pick this week. I listened to all the new releases across the New Artist Spotlight playlists (as I do), and this was the only one that really GOT me. Of course, there were others I particularly went for – shoutout to Borderline for their excellent new single, Tile of Paradise. It’s KICKING! But ultimately, it was Bryan who plucked my soul, painted it in the style of Monet, then neatly placed it back from whence it came. He’s quite charming like that. Bryan is a man from here, and also from there. Let me briefly explain. While growing up in the North of England, he now resides in Japan. Unusual for a Yorkshireman to choose the antithesis of Yorkshire. But there you go. “It’s grim up North” – so the English saying goes. Perhaps it’s slightly less grim in Japan. I don’t know because I’ve never been there, and probably never will. But this is at least one thing that Bryan and Blur have in common. They’re both known well in Britain and Japan, yet apparently barely anywhere else.
Bryan writes like a real artist, not like a musician (although obviously he is one). He is not interested in aping the current scene, nor really anything else. He is only interested in doing things his way. While he shows great skill in his singing and playing abilities, he rather uses these skills as tools in order to show off what REALLY matters. The songs. I say “show off”, but aside from maybe Kaminski, he is perhaps the most un-show-offy person in the NAS. While the NAS does have many modest and even humble artists, there are many who sometimes (or often) feel the need to keep telling us how absolutely bloody brilliant they are. However brilliant they might be, this constant pummelling can wear us down a bit and ultimately put us off. The fine line between getting the word out, and obnoxiousness (obnoxion, I’ve decided it’s called), can be tricky. Bryan steers clear of this dilemma by going for pretty much silence in terms of his own music promo. Actually, that’s not quite true. He tells us all there’s a new song out (at most), and that is that. Frankly, that’s all I need. The Blur way, rather than the Oasis way. So yes, his writing is very clearly the person he is in real life. A modest, charming, intelligent, understated and humorous chap. One who I will possibly never meet in person because he decided to live in Japan. It’s the only thing I don’t like about him; having removed himself so utterly that it is basically impossible for us to meet, shake hands and burst out laughing. A sad shame. But that’s the way it is. I can hardly hold that against him. He seems to like it there. And this environment seems to be having a significantly positive effect on his music and his writing. Not that there are ANY signs of Japanese music in his songs. Any. I think his soul is still here in soggy old England, on a desolate moor somewhere up North. But there is quiet brightness to his sound.
The sound of Bryan is the sound of Bryan. Although some listeners might choose to compare his music to various artists from the noughties, I choose not to. This is because the more I listen to him, the more I can only hear him. I don’t really hear obvious sonic influences. He’s too original for that. BUT!! There is one thing I do hear. Blur. More specifically, Damon Albarn and Graham Coxon. But surely then this is a sonic influence and therefore a comparison, no? Well, not really. You see, it’s more in the writing style. Bryan writes melodies in the same way that Damon has always written his melodies. But with different melodies. Bryan writes chord changes and guitar lines in the same way that Graham Coxon has always written his guitar parts. But somehow never sounding like Graham Coxon. This is a far cry from saying “Bryan’s song sounds like ‘blah’ by Blur”. What it is is, interest. Unexpected, original interest. Musically, Bryan darts from one key to another with clever changes and shifts in melody and rhythm, yet all with effortless grace. In fact, you may not really notice any of it happening. He has that rare gift where he can write a song that will hit each listener differently, depending on what they wish to hear. For example, a casual music listener (average Joe) will probably hear Bryan’s new song and think “mm, nice tune”. Average Joe will just hear soft niceness. Yet the more experienced listener (or musician) will be able to gain far more from it. This is something Blur has always done brilliantly. Oasis? Meh, it is what it is – good, pleasing, solid rock ’n’ roll. This is SO different from saying Bryan and Blur make complicated jazz-nightmare music, because they simply don’t. Bryan can reach a huge audience with this technique (a technique he is almost certainly unaware of using). There is one other possible subtle influence I hear throughout this single: Colin Blunstone (The Zombies). I think it’s the youthful, earnest lightness and honesty in his voice, coupled with truly melodic melodies. That may sound tautological, but you’d be amazed by the amount of melodies in music that simply aren’t melodic.
And then there’s his words. Bryan Cooper is basically a poet. Alongside Dom Piper, I would place them as the greatest wordsmiths on the NAS. When The Streets Fall Silent could be considered a simple sad love song. Or, it could be construed as being about celebrities having been used by the system. It’s all up to interpretation. And that is something Bryan likes about his songs. Of course, he has his own personal meanings to each of them, but he loves that listeners can take whatever they wish from them. He isn’t going to ram “the concept” down people’s throats. He’s just not the ramming type. If he shoved you by mistake, he’d only apologise and buy you a drink. So consider this: is Bryan Cooper underrated? I would say so. And more importantly, wouldn’t it be a shame if his brilliance were to be overlooked because of some charlatan who’s making louder, simpler music? Loud is good. Simple is good. But not to the extent where it masks great talent elsewhere. Arguably better talent.
Bryan is a healthy vegan. More Parklife, less pork life. There’s No Other Way.
Listen to 𝙒𝙝𝙚𝙣 𝙏𝙝𝙚 𝙎𝙩𝙧𝙚𝙚𝙩𝙨 𝙁𝙖𝙡𝙡 𝙎𝙞𝙡𝙚𝙣𝙩 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!
Listen to 𝙒𝙝𝙚𝙣 𝙏𝙝𝙚 𝙎𝙩𝙧𝙚𝙚𝙩𝙨 𝙁𝙖𝙡𝙡 𝙎𝙞𝙡𝙚𝙣𝙩 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!
Listen to 𝙒𝙝𝙚𝙣 𝙏𝙝𝙚 𝙎𝙩𝙧𝙚𝙚𝙩𝙨 𝙁𝙖𝙡𝙡 𝙎𝙞𝙡𝙚𝙣𝙩 on YouTube HERE!
Follow 𝘽𝙧𝙮𝙖𝙣 𝘾𝙤𝙤𝙥𝙚𝙧 on Instagram HERE!
Follow 𝘽𝙧𝙮𝙖𝙣 𝘾𝙤𝙤𝙥𝙚𝙧 on TwiX HERE!
Listen to my random Blur playlist on Spotify HERE!
Listen to my random Blur playlist on Apple Music HERE!
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