Pros:
First newly-released chart-pop album to actually make me BUY IT by virtue of being only £9. I was suckered in by the bonus DVD.
'Rock 'n' Roll Lies' and '(Don't Go Back To) Dalston' have been polished up nicely from the spikey demos that were buzzing around last year.
Previous singles 'Rip It Up' and 'Stumble and Fall' are also here in re-recorded versions. Top VFM!
The new recording of 'Rip It Up' has this unexpected (well, it would be if you didn't read this) ace manic-fast bit towards the end..
'(Don't Go Back To) Dalston' has extra twiddley guitar bits that remind me of 'This Is A Low' off 'Parklife'. This is good, as the latter became a zeitgeisty anthem that nearly summed up 1994 - 1995. It'd be good if this song could do the same for 2004. Also, the last minute of the song improves itself over the demo version greatly.
'Golden Touch': there's a great looping ZX81 version of the song that soundtracks this 'Razorlight Olympics' flash game.
The album is dedicated to Anno Birkin and Lee Citron who were good friends of good mates of mine. Ex-drummer of Razorlight Chris Smith used to be in Stony Sleep with Lee, who ended up in Kicks Joy Darkness with Anno. So that's that explained, then.
They're better than the Libertines...
Cons:
...the fact I'm able to compare them to the Libertines at all.
The band's name and the album time rhyme. This can't be good.
I'm hoping it's a grower, because those songs I hadn't already heard before buying this really do sound like filler.
'(Don't Go Back To) Dalston' has that horrible reference to London's latest posh-boy-slumming-it-with-the-poor-people paradise. I hate that whole Libertines-style 'look-we're-recording-in-a-shitebox-on-drugs-and-drunk' thing. Have these people never heard 'Common People'? No offence intended to any residents of the place. I've spent enough time bumming around the smelly market and on the 38 bus, you know.
Song three 'Vice' is trying a bit too hard for the sing-a-long outro effect with the 30 seconds of 'L-O-V-E, L-O-V-E, L-O-V-E, L-O-V-E'. Oh God, this is the next single. Idiots are going to be chanting it all the way around the Reading Festival by the end of the summer.
Sort of cut-n-paste style artwork, like real indie kids and their fanzines.
There's one of those mirrored Universal 'Special Edition' stickers on the front cover.
― James Mitchell (James Mitchell), Thursday, 1 July 2004 02:28 (nineteen years ago) link
― laticsmon (laticsmon), Thursday, 1 July 2004 14:15 (nineteen years ago) link
― briania (briania), Thursday, 1 July 2004 14:19 (nineteen years ago) link
― southern lights (southern lights), Thursday, 1 July 2004 14:23 (nineteen years ago) link
― Neb Reyob (Ben Boyer), Thursday, 1 July 2004 15:18 (nineteen years ago) link
Stuck in my head now.
― southern lights (southern lights), Thursday, 1 July 2004 19:56 (nineteen years ago) link
― splooge (thesplooge), Monday, 9 August 2004 08:42 (nineteen years ago) link
― matthew james (matthew james), Monday, 9 August 2004 15:14 (nineteen years ago) link
oh and the album's not that great. it's like a record company trying to create a libertines copy after the orginal got out of control (a bit like mcfly being created after busted got too big)
― jellybean (jellybean), Monday, 9 August 2004 15:26 (nineteen years ago) link
― splooge (thesplooge), Monday, 9 August 2004 15:37 (nineteen years ago) link
I've always thought this post to be one of the best bits I've ever put on my site. It's just two quotes about him. It's also the third hit on google for 'Johnny Borrell', which is neat.
― James Mitchell (James Mitchell), Monday, 9 August 2004 23:29 (nineteen years ago) link
That sound is suddenly becoming commercial because it's associated with blow-up bands like Franz Ferdinand. KROQ is suddenly all over it.
These details will mean nothing to UK ilmers, but oh well
― Thea (Thea), Tuesday, 10 August 2004 20:58 (nineteen years ago) link
― splooge (thesplooge), Wednesday, 11 August 2004 07:30 (nineteen years ago) link
It's already annoying, if you ask me. Some good samaritan should hand out mixed cd's of '78-82 classics to the kids at these shows.
― Thea (Thea), Wednesday, 11 August 2004 19:17 (nineteen years ago) link
― splooge (thesplooge), Thursday, 12 August 2004 10:28 (nineteen years ago) link
Back to Razorlight, they play in LA 9/22 so I guess we'll see what this fuss is.
― Thea (Thea), Thursday, 12 August 2004 19:15 (nineteen years ago) link
― matthew james (matthew james), Thursday, 12 August 2004 23:15 (nineteen years ago) link
RazorlightUp All Night[Universal; 2004]Rating: 3.7 Courtesy of NME, I present to you this year's worst band ever. Razorlight are Britain's latest response to garage-rock's attempted world takeover (The Libertines were the first), and they hope to win your love by borrowing tricks from some of your favorite artists-- including The Strokes, Television, Lou Reed, and even Bruce Springsteen.
Certainly, the burden of the past is always a bitch, but saying that Razorlight wear their influences on their sleeves is perhaps giving them too much credit. The band simply doesn't possess the energy or conviction to qualify their songs as mimicries, let alone exculpate their sinful lack of identity-- the notion of developing a "Razorlight sound" may not have even crossed their minds yet, and might possibly never. At nearly every turn of their flaccid debut, Up All Night, Razorlight squander the ideas they've snatched up from other, more talented acts, then somehow find even more ways to ruin already perfectly uninteresting songs.
The tacked-on piano prelude to "Leave Me Alone" gives way to the song's main riff, a thick guitar grind that's doubled on bass and chipped away by the hi-hat 16ths of now ex-drummer Christian Smith-Pancorvo. The energy level is passable, but falls a few notches with every "Marquee Moon" breakdown the band invokes, until the song ends with barely a whimper. "Which Way Is Out" further encourages Television comparisons-- the tenor of the verse's guitar catcalls are so similar to, again, "Marquee Moon" that one has to wonder if it's the only Television song Razorlight has ever heard. The song nosedives when its wonderwall of plastic distortion kicks in at the chorus.
Maybe it's another "if you can't beat' em, steal their schtick" sort of schtick, but Razorlight really hit up The Strokes for ideas on a number of tracks. Even their song titles are curiously Strokes-like ("Leave Me Alone", "Which Way Is Out", "Get It and Go", "Up All Night"). The opening guitar twitches on "Stumble and Fall" came right off Room on Fire's "Automatic Stop", while "Rip It Up" would be an expert Is This It forgery were the lyrics not so asinine: "Hey Girl! Get on the dance floor! Rip it up! That's what it's there for!"
Ultimately, though, it's Razorlight frontman Johnny Borrell who decimates Up All Night. The poor guy's all over the place, admirably (but stupidly) attempting to match a song's stolen vibe by impersonating the affectations of its respective frontman. He's virtually never believable: The Casablancan "and uhh's" and "ah well uh's" on "Rock 'n' Roll Lies" sound particularly empty. When he's not desperately trying to emote ("Vice") or to intimidate ("Get It and Go"), Borrell seems most natural on the kiddie-punk breakdown of "Dalston" and the "Maneater" tribute "Golden Touch". Neither song is particularly great, but Borrell's delivery on each is at least partially convincing. Of course, even at their best, Razorlight refuse to meet their influences with anything more than half hugs and limp handshakes, butchering the bits they brazenly borrow, and taking rock 'n' roll apathy to formerly unbelievable lengths.
-Nick Sylvester, August 20th, 2004
― dickvandyke (dickvandyke), Monday, 23 August 2004 10:00 (nineteen years ago) link
― Thea (Thea), Monday, 23 August 2004 18:31 (nineteen years ago) link
― James Mitchell (James Mitchell), Saturday, 9 October 2004 14:16 (nineteen years ago) link
The band has a new song called "The World Revolves Around Razorlight".
I have no idea what to add to this.
― James Mitchell (James Mitchell), Friday, 8 April 2005 12:08 (nineteen years ago) link