My Way is a very casual titles ...
He describes Ian Brown pretty good.
Having grown up with punk, he has always gone his own way - no, strutting. Or strolled. This quintessential English style, this radiation, this whole approach that works only by his own rules. A real folk hero in the north, and a national symbol to. In the course of its unique and groundbreaking career as a solo artist Ian Brown received a number of milestones, so that no one would have come only on the idea to reunite his former legendary band, the Stone Roses namely, to ask. The temptation was never particularly large.
My Way is an autobiographical album. The songs are characterized by several decades, he has brought to the forefront of British pop culture, of exceedingly turbulent stages of life so, and one of the most controversial and idiosyncratic musical careers Ever, in 1989 he a generation inspired to later a terrific comeback to be addressed as a solo artist, which was equally controversial as acclaimed. And: Brown making continues, driven by that innate belief in himself which made a whole city upside down, and the fans have so much heated that every single concert degenerated into a big party. The live atmosphere at his shows is unlike any other gig in England. The support for this icon is enormous, never backtracked make dignity, this musical loner who like the young Ali fights through his songs, his chin stretched in the HÖhe and the enemy outright mocked so, as the boxer from Louisville once did.
My Way is also a clever allusion to one of the favorite bands of Ian Brown: After all, is one of the very moment when Sid Vicious mutilated the classic eponymous so ingeniously way to the key moments of the punk era. This unorthodox approach is ultimately, to which Brown appoints. The crass attitude for Vicious and the Sex Pistols were temporarily known he has written for many years on the flag.
My Way is a clear statement of intent. Ian Brown has never received compromises, he has always made his own vision our top priority, according to its own rules creates pop songs while never paid attention to any specifications. The lack of musical bases is seen his real strength. After all, we are dealing with a sound that is undisguised, coming out of the stomach and if Ever punched only after own whistle. Funky and yet accessible - that you have to fix first.
Ian Browns career is also the story of an entire generation: the beginning was the punk fever, with whom he already infected as teenagers, then the cultural patchwork of mid-eighties: Mods Scooter Boys, Skins and Punks, Creation Records, psychedelic shirts with paisley patterns. Bands that you join, or leave, cheap drugs, wild nights, hot chicks, great plates - and finally a certain band fOr herself gradually everyone and yet so many people means so incredibly much today.
The history of Roses now part of the legends of Pop, but when the band split, dipped Ian First of all, under, returned the "dirty business" back and cared henceforth his garden - almost a biblical return to the simple life so. Only a small townhouse he had left - and after a of the Success stories of that era, after a period as head of that tape, which are no less than the size of the Beatles could have - and the supposed "experts" themselves were virtually agreed that the singer no longer would return. Over and out. But they forgot this is that he already was for a large part of this generation as an identification figure and cult personality that he had the aura of a figurehead as once a Strummer or Lydon, and that gangs like Liam Gallagher and the rest of the second generation his did adopt natural radiance and the transition, the style, the whole Attitude the flexible front man impersonated.
As Aziz Ibrahim at Ian knocking and led him to record new songs on their own, began a completely new chapter: Unfinished Monkey Business in 1998 became a hit, and it was only the first of several solo albums, which Brown marked definitively its own way ...
My Way is the latest iteration of this canon; treat the songs on it, both musically and content key moments of his life. Again mostly with Dave McCracken written, connects Ian Brown in the new songs, the respective strengths of all previous albums at an unbeatable whole - his so far best album. "Stellify", Opening track and first single at the same time, kicks off with a piano, until finally Browns voice begins, innocent as a fallen angel, and the piece with a break is penetrated, in the run up some wind instruments to top form. "The Crowning Of The Poor", the melancholy aftertaste and electronic elements, then provides for a radical change of mood: There is hardly a musician in England, the venture into so dark abyss - and to also know how you have so tackle a song. "Just Like You" however, is more classical and melancholic, but paired with a crystal-clear pop chorus how can it New Order during its heyday deliver had. during the breathless vocals formally overturning in order to bring the message of the song to the point, you just have to think of the culmination of the hacienda era, these oversized songs that filled the entire hall contaminated. Great time. 24 Hour Party People without end.
A sudden outbreak after the death-disco-session marks the cover of Zager Evans' "In The Year 2525", with which Brown his series spleeniger cover songs continues - there was even a few Michael Jackson songs - and the mariachi trumpet back into field results that are no longer out of his sound has become indispensable. The tinge of melancholy, which at "Always Remember Me" resonates, indicates a sense of regret that one in Browns appearance and his manner hardly suspect would, even if this sensitivity was there from the beginning. It is, strictly speaking, in the voice that a lot Attitude combines and humanity and spreads over the dark carpet of delay sound with which he alludes to the overdriven Indie Sounds of the Eighties - those sun-drenched-melancholy ballads à la Spector that sound so incredibly timeless. the song during dripping approaches the stormy climax which played backwards guitar loop unfolds definitively its magic. is "Vanity Kills" perhaps a kind of warning to people from the pop scene, a cautionary tale in a world where we are all still sometime Older? The song itself sounds atmospheric and profound like a movie soundtrack, while Brown a look at the downside of fame and love casts. "Nothing to lose, I want to do it all again", he sings defiantly and rises from the rubble.
"For The Glory" is still such a big vocal piece that also has Soundtrack qualities, full of biblical references and emphatic defiance. With "Marathon Man" puts Brown then a spurt a: the tempo is higher, stripped down electro sounds and beats that sound like scorched earth, in a catchy chorus transitioning. The song is about to assert itself again, and of course it can also here that confidence shining through those self-belief, which once defined the "Generation E". With "Own Brain", Incidentally, an anagram of his name, he makes for individualism in a world strongly in the thinker fOr no place seems to be and everyone only the mass trotting behind. Strictly speaking, this piece of his manifesto, his attitude in compressed form. On "Laugh Now" He then presented a moral story about a keyboard melody, a kind of nursery rhyme with a wisdom in tow, while "By All Means" hand more brutal sounds: Brown tries to show mercy for someone who has deeply hurt him. It is the diabolical preacher who strikes here again while the song itself, over and at least three dimensions, reminiscent of Morricone in digital instrument Park. "So High" is finally not only a terrific last song, but almost a piece to sing along: the Hammond organ on sets and paves the way for a neo-soul track, in the Brown can make final clean sweep. This song is already a malicious classics.
Unmistakably, autobiographical and absolutely confident, in short: My Way is Ian Browns masterpiece. A better title he would not have to choose.
--- John Robb, in August 2009
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