High by Femme (Review)

Review go High by Femme

Femme is still pretty much an undiscovered talent.  We first came across the quirky singer when her last track featured as the background track to a TV ad for fashion retailer boohoo.

Review of High by Femme

Review of High by Femme

So for those that haven’t seen her before Femme is pretty much like her music.  A little quirky, lively but with a little edge.  Her new single, High which is released next week, follows that exact formula.  The music definitely has it roots in pop, but not pop of the cheesy variety, its has decent beats and a nice effect on her voice to bring the backing to life.

The chorus, whilst nor being overloaded with lyrics is really catchy and works with the backing to perfection.  She delivers her radio friendly vocals with a great talent.  High may not be one of the most meaningful tracks around at the moment, but its fun and definitely catchy containing some great pop hooks.  Femme also displays that she has a good voice as well.

No wonder boohoo picked her, she has a great style and a real infectious personality.  Femme could be that best friend you never had.

Take a listen to High and let us know what you think.  We here at Music Eyz towers love it

The Death of the Album

The Death of the Album

There are two sources of entertainment people won’t pay for anymore, porn and music. If you’re smiling then you know what I’m talking about. If you’re not, ehhh ahem, my sincerest apologies ;-/ About this business of a decline in album sales though. Is the album actually dying out? The answer is, it could be and my feeling about this would be, what a shame.

Death of the Album

Death of the Album

We now have so many options available to us when it comes to sourcing some good tunes and the playlist it seems is the new wave that has us all willingly jumping onboard to ride along with it. It’s been reported album sales are down. Like with an economic recession though that has always been the case, peaks and troughs throughout the decades. However, there was always a reason for it and I’m hoping this time around it’s just a shift in scale to cope with the change in how we now listen to music. But death of the album? God I hope not.

So, why are the sales of albums down this time around? The most obvious answer would be online streaming. We are probably now just at another controversial “video killed the radio star” phase. Online streaming it could be argued is affecting album sales but how? Well, let’s make up an LP entitled: “Bittersweet Streaming”with the track titles as reasons for the decline. If anyone out there can add more tracks to this LP please let us know. Ok, so here we go…

Track 1: ACCESS ALL AREAS. Today, we have the internet. We have apps on our phones that allow us to stream music to it without the need for transportation to the city centre to visit a record store. We don’t have to wait for Top Of The Pops to air to see live performances of the artists who are touring and releasing tracks. We can watch recordings of live performances on the net. Sure look, we can even watch footage of gigs and festivals. The internet has changed how music is accessed but where at this point does it leave the album? Surely albums are now more easily accessible? Indeed they are but along with millions of other albums too and all at the same time.

We no longer have to mull over which of the two albums in our hand we’re going to take home with us from the record store. We can have both but wouldn’t that lead to more album sales though?

Track 2: MONEY. No not really. It’s hard to predict what those sales numbers of albums through streaming apps such as Spotify actually are when for a fraction of the cost of just one purchase on hard copy at your local record store, you can have millions of albums available to you under one umbrella. In any case, we won’t spend money on an album because we can stream each release off it with video online for free, which will do us. If we really want the album and aren’t content with just single releases off it then we just need to wait until the actual release date. Stream it in its entirety as part of our very low subscription cost to Spotify.

I fork out a monthly fee of EUR9.99 to have access to an unmeasurable amount of tunes. This is still cheaper than one album purchase through iTunes and as we say in todays times, “that’s a no brainer.”

Track 3: TIME. Gone are the days when you’d take the bus into town with your savings from pocket money or a weekend job to browse the rows of albums in your favourite record store. Music was only on hard copy then and I was around to see the transition through the various decades from vinyl to cassette to compact disc. The only thing in your pocket while you walked through the doors of the record store was a few quid and definitely no phone. You could buy singles, EPs but mostly you bought your LP. One purchase, back out the door, bus home and a lay down on the scratcher beneath your posters on your wall to listen to that album, loop after loop of it.

That is not such an easy thing to do any more. People say they’re too busy to listen to an album and that it is a luxury to do just that. Other people say they wouldn’t spend their time listening to an album and that they’d rather spend it flicking through playlists instead.

So time is a factor and how we spend our time has changed.

Track 4: HELP! The record player had one job to do, emit sound and nothing else. While you were listening to an album you’d read the sleeve. You’d read to see who produced the album, co produced it, wrote the lyrics, played guitar, sang vocals, bashed away on the drums, stayed low key on bass and tinkled the ivories of the keyboard.

Having no distractions to just lay back and listen to an album from start to finish is now not only a luxury if you see it that way but an acquired ability too. Our record player didn’t send us messages from the outside world while we listened to our album. Our record player was not a multi media device. It just had one job to do and in today’s world our phone is notifying us of outside messages and contact all of the time. Someone on Instagram has commented on our photo. Now a tweet has come in. No wait, I need to tweet I’m listening to this fantastic tune. Oops, now I’m in a discussion with someone on Twitter.

So, did I really get to listen to that album? Em, what?

Track 5: RAMBLE ON. Decisions, decisions, decisions. At a phone tap away there is always a tune that is going to appeal to us and if the one we currently have playing oh say five seconds hasn’t grabbed us then we move on. Within five minutes we not only have a new album release assessed but we’ve most likely moved on to listening to another artist. Listener choice is greater than ever before and our levels of entertainment and expectations are high so if we don’t like the start to a tune we won’t listen to the rest of it never mind listen to the next tune off that same album.

Do we dismiss an album all too quickly? Yes, I think in most cases that we do.

Track 6: DO I WANNA KNOW? Today there’s a lack of interest in the artist’s statement. Contemplating an album, actually listening to it again to see where the statement is being made is no longer a consideration by listeners any more. We have our own blogs, we tweet our own points of view and we don’t really care who is singing about what.

Do we even really grasp the concept that there is a message delivered on an album? I’m beginning to think that we no longer do.

Track 7: WHAT DO I CARE? There is a moral issue to consider which most of us will mumble some response to that question under our breath and slink off. Do we care if the artists’ blood, sweat and tears is duly rewarded? I do still support up and coming bands and will buy albums on Bandcamp, pay for pre releases of them on iTunes and purchase hard copies of them from buskers but I’m not alone here. There are other sad people like me. However, for the majority of cases I am part of the gang going with the flow and riding the playlist streaming wave. I think the progression of how we can now access music is exciting and cool but I still want to keep my album options available to me.

So do I care? Hmmmm.

Track 8: ARE YOU EXPERIENCED? Finally and this was one of the best bits in the process of the album purchase. Heading in on a Saturday afternoon and finding out from other listeners in record stores what to watch out for in the coming weeks. Eyeing up the long haired broody looking rocker. Watching the get up of Punks on one aisle, MODs on the other, Goths, Hip Hoppers and Disco Beaters. And as for the artwork on the album. Awwww man, some albums are memorable just for that!

The experience of buying an album. The what? Precisely.

So there you have it. My tuppence worth and it looks like I came close to making a playlist rather with that lot looking at the track titles. As a child of the album era it is a shame sales of it are declining and I have seen it progress from vinyl to cassette, compact disc to online. Record companies are considering dropping the production of LPs and going with EPs instead and from a business perspective I get that. I do subscribe to Spotify and I do stream music on SoundCloud and watch videos on YouTube. However, I also make album purchases from time to time because somewhere inside me is still a girl kicking back on the scratcher, devouring an album cover to cover, earphones in and switched off from the world. As for the broody long haired rockers now middle aged and hanging out in old record stores? They’re still out there.

Now, as for the porn industry. Well, back in our day… ;)

By Nicola Timmons

Review of The Queen Extravaganza, Cardiff

The Queen Extravaganza – St Davids Hall Cardiff 8th September 2014

So with all the tribute acts for bands, does the world need another Queen one? Well, for one this one was put together by Roger Taylor & Brian May so you know from the start it’s going to have that official mark of quality Queen have been synonymous for.

We review the Queen Extravaganza in Cardiff

We review the Queen Extravaganza in Cardiff

The first thing you notice is the production behind the show. For a smallish venue such as St Davids Hall, it suited it well – but being Queen, the sound would’ve been just as good in a bigger venue.

Special mention has to go to Marc Martel. There’s something about his voice being Freddie which makes the hairs on the back of my neck rise. That’s not to say the rest of the band aren’t any good – to the contrary, they’re as tight a unit as you’d expect.

The standard Queen anthems were all there – Hammer to Fall, Love of my life, Kind of Magic, I want it all, plus Save Me – which for me was a nice change (although I’d have loved to hear Breakthru). There was also Bohemian Rhapsody with traditional precorded Queen Bridge section – I mean, what decent Queen live show wouldn’t have that anyway?

There are many Queen Tribute acts, in fact my first ever concert was seeing Magic, A Kind of Queen in Pontypridd Muni back in the 90s, but you’ll be hard pressed to find one as polished, or as spine tingling good as the Queen Extravaganza. Although on the way out, overhearing people talk – one did say “They were good but not as good as magic”. Ever want to just turn around and tell someone just how wrong they are and the reasons? I didn’t by the way.

Queen may still be touring, albeit without John Deacon and Freddie, and I’m sure Adam Lambert is good – but there can only be one Freddie, and there can only be one Queen tribute band – The Queen Extravaganza.

The Queen Extravaganza are:

Marc Martel

Brian Gresh

Tyler Warren

Francois-Olivier Doyon

Brandon Ethridge

Nick Radcliffe


Review by Patrick Downes

Bare Bones Tour by Bryan Adams (Gig Review)

Bryan Adams – Bare Bones Tour – Colston Hall Bristol Tuesday 9th September 2014

I’ve previously mentioned the amount of gigs I go to. Not just for review purposes, but because there’s nothing like the buzz and feel of seeing and hearing your favourite (or favourite to be) songs live.

Some gigs I’ve seen are good, some will obviously be bad, but then for others, just brilliant. Bryan AdamsBare Bones Tour gig  at Colston Hall falls into that latter category.

Canadian rocker Bryan Adams plays at Bristol's Colston Hall

Canadian rocker Bryan Adams plays at Bristol’s Colston Hall

For most, if you mention Bryan Adams, you’ll bring up images of the Summer of 91 and THAT song from Robin Hood. Or maybe being drunk with your air guitar on a Saturday night playing along to Summer of 69 (Ed-No, definitely that annoying song). But he’s not just about those two hits (although Summer of 69 didn’t even go higher than the UK Top 30), he’s so much more.

Just imagine a gig with no screens, imagery, clever effects. On paper it sounds as dull as dishwater, I mean, why would you pay to see THAT? Well, my cynical friend, this is why;

A guitar, a Canadian rock legend and accompaniment by a piano at times is all you need when you have the 30 year plus back catalogue that Bry has. You do forget how many songs have been used in films, from The Mirror with two faces, Three Musketeers, Spirit, and of course that film with Kevin Costner. As a side note, he didn’t perform one of my favourite film songs from Jack (with the late Robin Williams) – Star, but in two hours and how many songs in his armoury I’m not surprised.

The Colston Hall is quite a refined venue compared to most I’ve been to – it’s a proper old school concert hall – and you’d think a rocker wouldn’t really fit in there. You’d be wrong. For the most part the audience sat down and were quite happy with a “Bry SingAlong”, but then came Summer of 69, When you’re gone and Straight to the Heart.

One thing of note, no photography was allowed. Now whether this is a new trend kicking in (Thanks Prince/Kate Bush), or just a venue thing, I find it a bit weird to be stopped taking photos of a guy who does that really well as a side line career. Yes if people are using big cameras – or more annoyingly, a flash (please note – flashes rarely work in gigs if you’re 50 metres away from the subject – unless someone knows better than me, but camera phones don’t take good close shots). That little gripe aside – which could be a venue thing I know, I did take a couple of shots, obviously for my own memory (and facebook page).

Going back to my original point of seeing so many gigs, there will only be a handful that will stick in my memory. Coldplay in Manchester in 2012, the final A-Ha gig in Cardiff, and now Bryan Adams in the Colston Hall in September 2014.

He’s back touring in the UK in November as part of the 30th anniversary of Reckless. This won’t be as special as the Bare Bones Tour, but needless to say, I’ve already got my tickets booked and can’t wait for the third time of seeing Bry. Fanboy? Me? Well, I suppose yes.

Review by Patrick Downes

But is it Art?

Art Garfunkel, Bristol Colston Hall, September 10th 2014

Is it Art? The question that’s haunted many a critic over the years. But it’s even more relevant in this instance. Four years ago, Art Garfunkel, once half of legendary duo Simon &…suffered from a vocal paresis which left him essentially unable to sing. He’s now in the middle of a long tour, just him and a quite wonderful guitarist. Is the voice still there? Has he still got the magic? Is it…Art?

We review Art Garfunkel's live show at Bristol's Colston Hall

We review Art Garfunkel’s live show at Bristol’s Colston Hall

You can tell when you’re visiting a concert aimed at the more mature gig-goer. Lots of perfume, lots of real ale, and more pertinently, a 7:30 start-time that is so firmly adhered to that when yours truly rolls up 5 minutes late he’s not admitted, and has to suffer “The Boxer”, the first of the night’s classics, through a thick black curtain.

When I’m finally admitted, Art’s (Ed – must have seen the latecomer from Music Eyz – sorry Art) in a bit of a grump. The lean, white Afro’d folkie of the 60’s is now the slightly stooped, occasionally coughing, waistcoated curmudgeon, complaining at lights on the monitors, occasional people coming in through the side doors, and once losing the thread of an anecdote because he’s distracted. But then…but then…

Perfect Moment” is from his 2002 album “Everything Waits to be noticed”. I don’t know it, I’m not familiar with it but it’s an ethereal experience. There are times in the night when Art isn’t fully himself, still powering through his illness “in public” as he puts it, but this song is transcendent. It’s not a hit, not one of the crowd-pleasers, but maybe the first time that he completely puts himself in the audience’s hands. And we relax. It’s going to be OK.

Poem On The Underground,” “Scarborough Fair”… if you remember flares and Frank Cannon and deeleyboppers then you are in heaven. His voice has definitely changed – sometimes there’s a sense that songs have been truncated to give his vocal chords a rest – but the high notes are still there, the ability all present.

The first half of the set finishes with “Bright Eyes”. I bloody hate “Bright Eyes.” It ruined six consecutive weeks of Top Of The Pops in 1979. The height of post-punk crippled by a bunch of poorly animated rabbits…so of course Mr Garfunkel plays it, and of course, it’s wonderful. The lights dim to an evening purple, Art crouches and sings at a 45 degree angle to the audience, and the rabbits are nowhere to be seen. It’s a lovely end to the first half.

Memo to Colston Hall: find a different way to serve intermission drinks. You shouldn’t have to queue for 15 minutes to get a drink then down it in 5 in order to get back lest the main act demands you be locked out. That is all. (Ed – Sounds like it wasn’t only Art in a grump)

With the second half, Art’s Mo has firmly located his Jo. He’s no longer a young man but every now and then the youth shines through the bookish adult. You’ll get a glimpse of the face that slew a billion 16-year-old hearts in the sixties. And his voice…like I said, it’s a little different, and sometimes he sounds like someone doing an Art Garfunkel impression, but when it shines it shines, it’s unmistakably the singer of “Homeward Bound” and “The Sound of Silence” and an especially wonderful “For Emily, Wherever I May Find Her”.

I haven’t mentioned the interludes; the songs are interspersed with conversation and poetry, not too long, not too bothersome, and usually very funny. It’s billed as an “Intimate” evening and whilst that’s a daring option for a double-entendre loving British audience, that’s kind of what you get.

You might be gathering, I had a great evening. Tickets weren’t cheap, and the whole event was over by 9:30pm, but it reminded me of seeing Brian Wilson at £50 a ticket ten years ago. (NB : Art’s tickets were not that expensive.) I had to justify the £50: “I never saw Picasso paint”, I replied, “But I can see Brian Wilson sing, and that’s just as important.” Tonight had the same feel about it; a terrific chance to catch up with a legend, and watch him do his thing. Art’s not a young man, and this may be our last chance to see him. I completely recommend the experience.

Is it Art? F*ck yes It’s Art.

Review by Steve Noble

Competition – Win a Pair of Ella Eyre Tickets

Competition – Win a Pair of Ella Eyre Tickets

Ella Eyre has been making quite a stir.  She is loved by critics and fans alike.  Its particularly satisfying for us given that we put her right at the top of our Ones To Watch in 2014.

Win tickets to see Ella Eyre

Win tickets to see Ella Eyre

For anybody that has seen Ella Eyre perform live you will know what a great show she puts on.  Her huge vocal ability just seems to get even better in the flesh.  And with this, we are lucky enough to team up with @gigsandtours to offer a pair of tickets to Ella Eyre‘s upcoming Manchester show on 7th October (2014).

What do you have to do to get your hands on a pair of the hottest tickets in town?  Simple, just tweet @musiceyz and @gigsandtours and tell us why you want to win.  One winner will be picked at random.  If you can’t make that date or your luck isn’t in, full details and the chance to buy can be found on the Gigs and Tours site.

Competition Closes 18th Sepetember, 2014

The boring bit

1. Music Eyz is running this competition in conjunction with gigst.rs/Ella (Gigs and Tours)

2. Music Eyz will select one lucky winner who tweets as per the competition guidance found on this page

3. The winner will be selected completely at random and notified by Music Eyz no later then 21st September, 2014

4. Music Eyz will require that the winner provides full contact details and these will be shared with gigst.rs/Ella to ensure they can send the prize

5. All competition entrains must be aged 18 and over to ensure they can enter the venue

6. No alternatives are available for the prize

7. Music Eyz reserves the right to change, end or remove the competition without notice and will not enter in to any discussion relating to the competition or amendment of the terms

8. Music Eyz and gigst.rs/Ella ask that the winners allow themselves to be photographed or recorded by digital video if requested.

9. Music Eyz requires that the winner provides a review of the gig for use on MusicEyz.co.uk

Give We The Pride by Chuck D ft Mavis Staples (Review)

Review of Give We The Pride by Chuck D ft Mavis Staples

Well its been a while since a Hip Hop track has offered some real stand out.  Ironic that I was listening to the Hip Hop weekend of 1Xtra and all the tracks that stood out were the ones from the 90s.  You know, those stand out moments from the likes of Nas, Biggie, Ice Cube and Outkast.  Well Chuck D made some of the most important tracks that helped define the genre, and he is back.

Review of Give We The Pride by Chuck D with Mavis Staples

Review of Give We The Pride by Chuck D with Mavis Staples

Enrolling the support of legendary rhythm and blues singer Mavis Staples, he brings to your ears Give We The Pride.  Simple hip hop beats drive the track and some nice sounding percussion adds a real element to the music.  Chuck D delivers some lyrics that show the world for what it is.  There are elements of preaching in it with the numerous references of “the lord”, however the track is really well produced, it doesn’t dominate.

Mavis Staples is in her 70s yet she can still belt out a tune.  Her vocals are distinctive and powerful.  She quite simply sets the tone of the entire track and belts out her great vocal sound that makes you want to listen.

Whilst Give We The Pride may not be a classic, the mix of hip hop beats, Chuck D‘s rap and some great rhythm and blues singing, delivers a passionate combination.  This isn’t in any way commercial and it won’t make millions, but that might just be why I like it.

Goddess by Banks (Album Review)

Album Review of Goddess by Banks

Banks is big right? Well she is big news that’s for sure.  You would struggle to find somebody saying anything negative (or even constructive over the last year or so).  Sometimes these crescendos are created purely by hype, however, based on the two previous EP releases from Banks then the plaudits are duly deserved.

We review Goddess, the new album by Banks

We review Goddess, the new album by Banks

Now its the big time though and Banks’ first step in to the proper mainstream market.  The launch of the debut album Goddess from Banks is bold.  Using such a title kind of sets her up to deliver something epic.

Going back to her EPs for a second, they were strong.  A moody tone to her tracks, with good beats and a decent electronic RnB flavour which complemented her vocals.  I think its wrong to categorise Banks as RnB though, she is first and foremost a good singer with good production behind her.

Goddess demonstrates that Banks isn’t without her modern US influences.  She openly admits to following closely and looking up to the likes of Rihanna and Frank Ocean.  However, the electronic sound and vocal delivery also makes her much more current to a UK audience.  She has definite glimpses in to the context that is delivering for UK musicians both here and over the Atlantic.

In terms of the album content, I can’t help but think that something has happened at the label.  Whether or not the album was rushed out or not is questionable.  But to include three tracks from her previous, London, EP suggests trying to fill 14 spaces on an album.  The fact that several of the tracks have also been released as singles, leaves you feeling a bit disappointed.  Not at the quality, just at the sense that there isn’t really anything new here.  That is particularly criminal given that Banks has been built up on buzz and the feeling that we have an innovative artist here.

There are some tracks on the album that do feel a bit out-of-kilter with Banks and her previous body of music.  Warm Water in particular has quite a weak title and the track lives up to the weakness.  The music is a bit twee and the track barely gets above tepid let alone reaching the heights of warm.

That being said, if you are new to Banks, or if you haven’t heard her previous body of work, this is a must have.  In the main, the strong production matched with the elegance and subtlety of vocals from Banks, provides a great listen.  This is epitomised by Someone New, where the quality of Banks’ vocal shines through.

In short, if you are new to Banks, get this album and get it now.  You will love the RnB flavour with the subtle British hints and feast upon the quality of vocals from Banks, an undoubted prospect for the future.  If you have any of Banks previous body of work, Goddess is probably not for you.


Listen by The Kooks (Album Review)

Album Review of Listen by The Kooks

Before you go on, I must warn you prior to writing this, I have never been a massive fan of The Kooks.  Some of their material has been OK, but I have struggled to comprehend how they have forged out such a powerful career in music and garner such favour from the masses and critics alike.

That being said, always like to be proved wrong and as Listen is one of the big releases, I sat back to give The Kooks latest release a listen.  Would they change my opinion with a groundbreaking sound or cement my views by dishing up the languid, lazy indie that they always have.  (I am aware I am in the minority there)

Review of Listen the new album by The Kooks

Review of Listen the new album by The Kooks

Straight off, the fact that lead singer describes Listen as “a fusion world music album” worried me.  That seems wholly pretentious and code for “we didn’t really have a direction and just threw together some experimental stuff”.  OK that is harsh and these experimental albums do sometimes work.  Not sure I can remember one really working extremely well since Gangstarr’s Guru produced Jazzmatazz back in the 90s.

Anyway lets move on.  The Kooks team up with Hip Hop producer Inflo.  Yes you read that right and no, I don’t know him either.  However, what the collaboration does do is add some different flavours to the factory sounding indie you may be used to.  There are hints of beats and a little bit of a urban twist to the sound.  Don’t get too excited though, they are very mild hints, kind of like the slight hint of coriander you might (or might not) be able to taste in a cheap takeaway Madras.

I am not sure what influences The Kooks used for this latest body of music or even frankly what possessed them.  I think they may have thought they added a funk flavour to their music.  They may have even felt they have delivered an urban crossover, but I just can’t hear it.  I am not sure it will even appeal to their traditional indie crowd.

Some of the vocal deliver feels off key or in need of production treatment.  The screeches in parts shattered glasses in my house and my dog’s once fine hearing is no more thanks to a perforated ear drum.  I can only imagine that they were going for the Frank Ocean or Prince sound, without really reaching the heights of either.

The album is littered with disasters. Dreams is about as exciting as going to the store of the same name.  Westside seems as dated as the Ali G references some years before.  The funniest moment on the album is London.  I am not sure what was going on here and who ever wrote the lyrics should be shot immediately.  Perhaps the wrong term to use, as the track attempts a bit of social commentary in to the state of life in London, including the Tottenham (or as they say Tott’Nam) events of a couple of years ago.

There are a couple of moments that fans of The Kooks might like.  See Me Now, a stripped back ballad, lead by the clearly emotional Pritchard singing about his father who passed away when Pritchard was young.

Perhaps the highlight of the entire album was the last track.  No that isn’t me trying to be funny in suggesting its the end, so it has to be good.  Although psychologically that may be in there.  The final track Sweet Emotion is the only track on the whole album that seems to realise what the point of “a fusion world music album” actually is.  It mixes some nice short chord changes, hinting towards Motown influences with strong guitar riffs and great gospel influences through the music.

Sadly, Sweet Emotion is not enough to change my opinion.  That feels like they stumbled on something by accident and is not reflective of the true ability.  My tip, even if you are a fan of The Kooks, avoid the album and buy See Me Now and Sweet Emotion as singles.

On a more positive note.  I think The Kooks have just managed to prove what I always thought about them, maybe some of you will now join my team.

V By Maroon 5 (Album Review)

Review of V the Maroon 5 new album

Maroon 5 were, only a short while ago, huge!  Three years ago they were musics shakers having secured huge hits in the shape of Moves Like Jagger (38th biggest ever selling single in UK chart history) and obviously Payphone with its slightly naughty lyrics.

Review of new Maroon 5 album V

Review of new Maroon 5 album V

Whilst their career hasn’t really boomed following that early success, they have managed to ride on the tidal wave created by pop stardom.  I don’t know how and I only realised after trying to work out why they called their album V, but this is Maroon 5’s fifth album.

Adam Levinge is undoubtedly the talent in this pack.  His high pitch and ability to twist his delivery to fit the most varied of backing tracks is no simple task.  He even managed to sing on a track dominated in theory by hip hop heavyweights 50 Cent and Eminem.

Their are glimpses of this brilliance from Levigne on the album V.  However, they are just mere glimpses.  He sounds really good on the single Maps, although you can be forgiven for thinking it is sting after sucking the helium from a balloon.  But the rest of the album is over produced and a little bit sickly in its composition.

Even the addition of Gwen Stefani on My Heart is Open doesn’t lift the album out of first gear.  Yes its upbeat (despite a couple of ballads).   And yes, Levigne does keep his enthusiasm alive throughout the album like a five year old who has eaten to many skittles.  But as a collection of songs, it just fails to deliver.

Because of the previous huge success of Maroon 5, V won’t destroy their reputation, but it will surely harm it.  If any evidence was needed, V proves that Adam Levigne really needs to have a go out there on his own.