This album has certainly shaped up better than I expected from the singles. I’ve listened to it several times now. It holds together quite well as an album to listen all the way through, perhaps because of the one producer for all but Fuh You. I wonder if his two suite style songs at the end is an attempt to give it an Abbey Road feel.
Like BLmeanie, I haven’t found any all time great songs on it yet, but the overall standard is pretty high. With the more modern sounding tracks, and the heavy promotion (the Carpool, Karaoke thing, the surprise concerts, attention-getting Fuh You single and now his rather personal revelation about joint activities with John) I wonder if this could be one of his better selling latter day albums. Time will tell.
On first couple of listens the more acoustic/ballad songs tended to stick out more to me. Happy With You, Confidante, Dominoes, Do it Now. They all have a nice feel and easy to like melodies.
I Don’t Know still sounds the best of the singles. It has a good groove although still doesn’t rise to anything great. Come on To Me sounds better on the album. It gives an uptempo boost after the mid paced opener.
Fuh You I still wish he’d left off and kept it just as a single. I see he’s saying it’s a corruption of “For You”, and that the printed lyrics will be “I just want it Fuh You”, well, sure, but anyone listening isn’t going to be hearing that. He’s descended to Britney level with her If You Seek Amy stuff it seems.
Who Cares, Back in Brazil and Caesar Rock haven’t grabbed me as yet. Nothing wrong with them just not my thing.
People Want Peace i was prepared to dislike as his message songs are rarely his highpoints. But the chorus is pretty catchy and well arranged even if the verse is a bit bland. Musically it’s a nice track.
The last two tracks, being long suites, have good and less interesting parts. Despite Repeated Warnings builds up from a Wanderlust sounding ballad through to a synth heavy rocker before returning to the ballad. Not an uncommon structure but it works well. One of the standout tracks on the album. The opening bass heavy riff of Hunt You Down/Naked/C Link I have to say is pretty cool; it really jumps out of the speakers. Although his effects-laden vocals of the first section are a bit much. It’s the ending of this, and therefore the album, that seems odd. It peters out with a several minute slow jam. It’s ok but strikes me as a bit of a flat way to conclude the album.
