Connolly's Cornered - This Week: Hands Up! - Charles Connolly

Patrick ponders where to begin…

Firstly, is this an album? Absolutely! Is it the type of album full of colorful pictures of half dressed off-tempo musicians? Definitely not (and thank god for that)! Is it an audio album containing 14 "rad", and "banging" pieces of musical art? Bingo, yes it is! "It is?" You might ask. "Oh yes, you can bet your sweet glazed ass it is!" 

Charles has been releasing an incredible song every 3 days for the past 6 years it seems. From "Experience" to "Hell Is Other People" to "Parakeet" to "Come The End". The number of times those songs have been featured in the NAS Top 20 is incredible. And they kept coming out, besting the previous release every time, or at least making us think the new one was better, probably because of the inevitable "wow" factor his songs provide upon first listen. 

It's an amazing album! I've said this in private, but I'll say it again here. Charles is a rare gem in a world of full pebbles!

Cry Later, Won’t You 

Frank takes things too seriously and/or literally…

Crying is a rare event in this house.  (Though it probably shouldn’t be.)  Saving it up to do so at a later date is even less likely.  Why cry in the future when you need to blub now?  Or better still just suppress it.  Which is bad.  Obviously.  Which brings me to the track in question.

From the dreamy train noise intro into the harder drums and guitars this is a roller coaster before it’s even begun.  Next the silky vocals wrap around you, and you’re drawn into someone’s internal world.  This is power pop like it should be done.  What Robbie Williams and Guy Chambers were trying to be.  Precocious and tender, Charles grabs your attention and earns every second of it.  Lyrically it does the same thing.  Heartfelt one line then defiant the next.  Love lost, then the references to school and its harshness.  You melt a little into his achingly authentic vocal then get hit with stark contrasts, keeping you on your toes, never allowed to feel sorry for him or for yourself.   If there’s a better album opener, I’ve not heard it.

Inspiration 

Broselle + Naysh know who to call…

We all have those moments in life where inspiration wanes and we need a little motivational pick-me-up. Why not leave it to a former Ghostbuster to provide that spark?

“Whatever you do, always give 100%. Unless you’re donating blood.” - Bill Murray

We can’t be exactly sure how much blood Charles lost while working on “Inspiration”, the second track of his album (or if Dr. Peter Venkman was his muse), but it is certain he gave it the full-hundo. The song starts with a classy lounge-like piano progression, a stifled drum beat, and Charles’ smooth vocals that are reminiscent of Jamie Cullum. As the verse continues these elements start to evolve dynamically, which culminates in a highly sophisticated chorus. Once here, it truly feels like we’re in for one hell of a night out on the town. Bring your finest evening wear while listening to this song. It’s pure class.

Hell is Other People Pt 1 

Mal Fantome feel the groove…

Charles Connolly excels at blending grooves, shifting tempos, and introducing fresh themes to create complex pop songs. Hell Is Other People Pt. 1 is a masterclass in itself. The track grooves like a Jamiroquai hit, with its infectious bassline, horns, lush keyboards, and laid-back vocals—everything needed for a song that sticks. The title, inspired by Jean-Paul Sartre’s famous quote "Hell is Other People," adds a philosophical layer to the track. Once again, Connolly proves that pop music can be a true form of art.

Too Long 

Tim gives Charles a punchy kick…

This song is NOT too long. It’s not long enough. That’s what she said. 2:33 of smooth, soothing music that pleads for another listen. Often though, that’s what the best song writing is able to do; lure the listener in for another listen, and then another, and another, and another (you follow).

I’m a sucker for a delicious drum sound. Immediately, Charles grabs my lugs and forces me to sit and enjoy the punchy kick and crisp toms, with those intricate fills satisfying my indulgent drummer mind. The second thing to pay attention to is the lovely choice of chord progressions and changes which surprised me on first listen. It’s a warm cozy blanket of sound, with such a great choice of melody for the chorus.

The melodic brass line soars over the melody in such a complimentary way. Too Long is a wonderful short track which showcases discipline in writing and composition in ways that most cannot wish to achieve.

Experience 

Billy’s mind is in the gutter...(again)

Are you experienced? Is Charles experienced? If you gotta ask, you certainly haven’t had him produce YOU. Nor seen him nude from the waist down. He will sprinkle honey all over like a bee..like a tramp, ahem; I’m referring to his music production of course (not intercourse), ya filthy animal.

The main guitar riff on ‘Experience’ would make Gaz Coombes scratch his own bristling stubble. The subtleties on just the “ba-da-da-da’s” show Charles is his own musical architecture. He goes the extra mile. This album is a documentary! Learning how Charles’ head works, but also, how he wants to get in YER’ head. Okay, too much ‘head’ talk. Ol’ CC can get you out of a dark day into one that’s: gobsmacked, cheeky & chuffed! If the ‘Macca’ himself had a chance to hear this, he’d say: “it’s quite the lil’ doop-dee-doo, ya know?” Give it a listen Paul!

Hands Up, Hands Down Pt 1 

Jane ponders the word “simple”... 

Charles described this song as “a simple little thing to introduce the following track.” Well, if this is “simple” then the rest of us indie artists may as well give up now!  Overall this track has a cool swagger about it, a smoky ambience that suggests you can take it or leave it.. and I very much suggest that you take it!

A calming, almost requiem-like organ introduces a guitar motif accompanied by syncopated drums, which give us a subtle nod to hip-hop, though this fades as quickly as it has been suggested. Charles’ warm vocals are soon setting the atmosphere with the “Hands Up” theme, teasing the listener with a dreamy undertone. The complex drum parts return on occasion while the melody takes it all in its stride, decorated by seductive warm saxophones.. this song has a little bit of everything, melodic & rhythmic themes and motifs that dance around each other, never daring to commit but full of suggestion, complimenting the skilfully written lyrics. 

Hands Up, Hands Down Pt 2 

Marcus raises his fists...

Connectivity. That's nice right? To connect with other humans, yes indeed. But the word gives me the creeps these days. It takes my mind to things like mass surveillance, oppression and uniformity. Where everything's measured, digitalized, turned to 1's and 0's.. let's fight that.

The song starts with a magnificent stomping sequence that could very well be signed Page/Bonham, but this is soon interrupted. What happened? Did we do something wrong? In a HAL like character, Charles declares that any deviation from the norms will be frowned upon. Beautiful string runs complement the verse that perfectly describes how the world is today. Everything is connected, surveillance is everywhere. The song is full of little quirky elements that brightens the mood of this song’s serious subject and about two thirds in, the song really opens up sonically as the lyrics describe a desire to break free.

Laugh With Me 

Bernice has a giggle fit…

There are few things better for you than laughter. It helps you connect with people and can lift your mood in an instant. Some people have the gift of being naturally funny, but there are also the killjoys who will find every excuse to be miserable.

Charles explores this a bit in these lyrics.  It starts with some light-hearted reggae guitar, then trumpets enter as he sings a lyric that might make you raise an eyebrow, and snort upon hearing the punchline.  A tuba comes in with descending notes, emphasizing the joke. Suddenly, with the eerie toll of a bell, it’s no longer funny…the tone has turned tense. The guitar is wailing and so is Charles!

Then just as quickly as tension entered, we switch back into light-heartedness. We’re pretending that chorus didn’t just happen. Nothing to see here! Except the lyrics don’t match the whimsical music anymore. Tension builds again. We enter back into the chorus, and the intensity continues into the bridge with Foo Fighters-style drums, leading us into a final note reminiscent of the ending of a 90s sitcom theme, as we March On into the next track.

Marchin’ On 

bigbaldben punches a Nazi…

What a difference a letter makes. Observe: Hitler Marching on Paris. Hitler Marchin' on Paris. The first is trouble. Forceful. Hitler has purpose and grim determination. Not good! The second is better. Like Hitler is coming to sing some showtunes and dance. Taking a break from all the Hitlering and living it up! Which Hitler do you prefer? Well, neither because it's still, you know, Hitler. But I think you see my point. 

Charles does this. Not the Hitlering but the attention to detail. A dropped letter in the title, a changed note in a bassline, the extra snare on a snare roll, one less millisecond on a held note. The care with which he constructs his songs is evident, and as fun as it is to enjoy the vibe of a CC song, take a minute sometime to listen to the care this man puts into every note. 

Maybe if dumbass Hitler paid this much attention to his own art, he would have been Marchin' on Paris instead.

Hell is Other People Pt 2 

Dom lays out a few facts in 150 words…

Charles Cannoli was born to Hungarian pâtissiers just off the coast of Scotland on the Island of Sicily. Named after an Italian ricotta filled pastry, Charles’s formative years were spent learning how to mold marzipan into fruit shapes; a skill that has served him well in adult life. Charles (AKA Chaz) lives with his three wives on their Northumberland estate in Essex along with their son ‘HAL’, two donkeys ‘R2-D2’ and ‘C-3PO’ and their cat ‘Barry’. They own the UK’s largest collection of REM memorabilia and are avid supporters of all artificially generated music.

I have 50 words left to review this wonderful track, 40 now!! I really shouldn’t waste time with a word count, Chaz would never forgive me! I’ll have to summarize; ‘it’s quite good really’.

Hell can at times be other people. I think the facts are clear.

Make a Good Thing Better 

Kaminski polishes a turd...

Of course. Any self-respecting producer with any sense of committed patronage will say, "Sure, this is already really good, and I can only make it better!" That's what every musician wants to hear: "I'm already good, and Charles will make me sound even better, with all the praise, honours, women (or whatever your preference is) that will come my way!" 

But a good listener will notice that this song is not about polishing turds. Charles is never that superficial, and certainly not here. In ‘Make a Good Thing Better’, a self-aware, wise Charles sings to someone he loves dearly with a great, loving life lesson: ”Let me tell you about my mistakes so you don't have to make them. Allow me to tell you that you are already doing great things, and that all I want to do is help you to showcase and magnify all that wonderfulness: I see you.”

That, dear people, is Charles Connolly. A man who can -and wants- to see the beauty in everyone. And be honest: that is the kind of producer you want. 

Parakeet 

Sano Hill wonders why Charles is for the birds …

Beginning with the sounds of bird-song and gentle piano playing, ‘Parakeet’ is a tribute to those vocal birds increasingly found flying freely in cities across Europe – there are apparently at least 32,000 in London alone! And it’s one of these beautiful creatures that inspired this track that describes Charles “relishing” the sound of a bird outside his window. There is a whimsical celebratory quality to the track that features the usual stunning array of instruments (including the exquisite sounds of sax and clarinet) – and also what seems to be a Beatles’ tribute in the Liverpudlian voices reminiscent of Lennon or McCartney that remark on the birds at intervals in the song. 

The Beatles of course had their own tribute to another beautiful singing bird that no doubt was an inspiration for this track; their influence is evident across the album as a whole though reworked and reimagined in lyric and production (as on 'Parakeet') to give a distinctly contemporary feel.

Come the End 

Bryan considers his mortality...

I once took an online meditation course where one of the exercises was to imagine what people would say at my funeral. An uncomfortable thought experiment that came with the caveat of helping me re-evaluate what kind of legacy I want to leave. Have you ever visualized your own funeral? Charles Connolly has. 

There's a deep sadness in the opening verse with lines like, "What I do isn't good enough for you", and the mournful church organ opines in accord from beneath, but when Charles later convinces himself, "While I'm alive I must do something better", he inspires the listener to do likewise. From then on, the classy orchestration score builds a sense of optimism, as if to envelop him in a transformative chrysalis, before the drums ultimately bestow upon him wings to take flight. The culmination is a powerful finale that leaves a defiant imprint on you. Don’t be mislead by the gravestone artwork because ultimately, intentionally or otherwise, 'Come The End' is a life-affirming call-to-arms to get our sh*t together.

Family of Two 

Summer and Charles loathe children… 

The title says it all. We’d commiserate over beers next to tables of children covered in food, shouting, “Good god, throw them away!” Clinking glasses to eschewing changing nappies or throwing hard earned cash at procreation. 

Ok perhaps, in Charles’ own words, “No, that’s too far,” (Another song, have you been paying attention?) Perhaps he wasn’t joining Randy Newman in hating short people. Perhaps I don’t either. But I digress. 

The beauty of this song goes deeper with each layer, from the opening lullaby of the piano. Listen to Charles himself, “I won’t even try to change the world.” He realizes that, in the end, all that's ever mattered was always there, right in front of him, suddenly turning him into Sinatra in front of our very ears. You’ll want to spin someone (or be spun) around your kitchen while brewing morning java. A tribute to life lived and witnessed together. And is there any better ending than that? 

Outro

Emily gets slapped in the face repeatedly…

And so, our journey through the brilliant mind of CC has come to a reluctant end. We’ve laughed with him, we’ve made a good thing better, we’ve even parakeeted a little bit (whatever that means) but as the cassette tape clicks and the curtain closes, we can’t help but feel a little sad that there’s nothing new left to discover. 

Or is there? 

Now those of you familiar with the fantastic works of Mr Connolly will know that his productions have a sneaky way of exposing previously hidden parts of themselves with each consecutive listen. A harmony that you didn’t quite register on the 4th listen, will slap you lovingly in the face on the 6th, 7th or even 20th. There is ALWAYS more to discover when it comes to CC’s masterpieces.

So, what are you waiting for? Re-set that cassette tape, give your ears a good clean, and get those Hands Up again!

I guarantee you’ll uncover more hidden treasures with each listen.

Listen to Hands Up! on Spotify

Listen to Hands Up! on Apple Music

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