Paolo Nutini
These Streets (2006)
Scottish singer/songwriter Paolo Nutini released These Streets, his debut album, to a very good public reception (even if the critical reception was lukewarm at best). Remarkably, Nutini was just nineteen when the album was released, which is a pretty fair effort - though he certainly sounds a little older and world-weary than nineteen.
As somebody who generally tries to avoid modern pop music, I confess to only having a cursory awareness of the bloke's existence. I know I've heard snippets of Jenny Don't Be Hasty but that's about it. Consequently I'm going in with no preconceptions because I haven't heard anything other than a few seconds of his work. I should also point out that this is another request, this time for a former colleague of mine.....
Let's see what I find out about the Scots lad with the Italian name.
The Album
In a word?
Safe.
That is, believe it or not, not meant as a horrible slur on the artist. Nutini is a good singer (when he's not being Joe Cocker-lite with gravel in his larynx) and knows how to write a poetic set of lyrics (especially in the reverb-drowned ballad Autumn). The album itself is a collection of radio-friendly pop rock unit shifters and moody emotional 'beautiful' ballads, and little else. There's scant attempts to bend the rules of pop, or even try to fuse styles together (though there are occasions where the songs tip a hat to folk and soul). It's just nice music and lyrics designed to appeal to the sappy side of humanity.
In other words, safe. It's the tofu of music - you can use it and try to spice it up as much as you want, but in the end it's still bland sponge.
There's lots of autobiographical ballad stuff here (and let's face it, any good singer-songwriter derives much of their work from their own lives and experiences, especially early on in their careers) and it's very tastefully told by Nutini. Songs like Last Request and Rewind, among others, deal with reflections on the dissolution of a relationship, with all the formulaic pop ballad requirements in place - verse/chorus/verse/chorus/bridge/chorus, heavy on the piano, mild reverb and a lighter harmonious vocal. Million Faces is much the same but features an ear-catching soulful falsetto vocal, which at least gives it some distinctive edge, as does the coda (a sharp key change and some snappy drumming provide an exciting finish). White Lies is rooted in folk, with some pretty string arrangements and nifty slide guitar work; though it reminds me of James Blunt's work, and I'm sorry, that's not a good thing.
The uptempo pop tracks are a little better. Jenny Don't Be Hasty has a real 90s guitar pop vibe to it, and is pleasant radio-friendly pop rock. New Shoes was one of my favourite songs, with a touch of swing, a simple arrangement and a groovy, toetapping tempo. It's not as uptempo, but Loving You was also a pleasant surprise, with its surf-folk laidback acoustic groove and light, jazzy drums; unfortunately the decision to have comparatively INTENSE LOUD VOCALS destroys this chilled out vibe.
That is, believe it or not, not meant as a horrible slur on the artist. Nutini is a good singer (when he's not being Joe Cocker-lite with gravel in his larynx) and knows how to write a poetic set of lyrics (especially in the reverb-drowned ballad Autumn). The album itself is a collection of radio-friendly pop rock unit shifters and moody emotional 'beautiful' ballads, and little else. There's scant attempts to bend the rules of pop, or even try to fuse styles together (though there are occasions where the songs tip a hat to folk and soul). It's just nice music and lyrics designed to appeal to the sappy side of humanity.
In other words, safe. It's the tofu of music - you can use it and try to spice it up as much as you want, but in the end it's still bland sponge.
There's lots of autobiographical ballad stuff here (and let's face it, any good singer-songwriter derives much of their work from their own lives and experiences, especially early on in their careers) and it's very tastefully told by Nutini. Songs like Last Request and Rewind, among others, deal with reflections on the dissolution of a relationship, with all the formulaic pop ballad requirements in place - verse/chorus/verse/chorus/bridge/chorus, heavy on the piano, mild reverb and a lighter harmonious vocal. Million Faces is much the same but features an ear-catching soulful falsetto vocal, which at least gives it some distinctive edge, as does the coda (a sharp key change and some snappy drumming provide an exciting finish). White Lies is rooted in folk, with some pretty string arrangements and nifty slide guitar work; though it reminds me of James Blunt's work, and I'm sorry, that's not a good thing.
The uptempo pop tracks are a little better. Jenny Don't Be Hasty has a real 90s guitar pop vibe to it, and is pleasant radio-friendly pop rock. New Shoes was one of my favourite songs, with a touch of swing, a simple arrangement and a groovy, toetapping tempo. It's not as uptempo, but Loving You was also a pleasant surprise, with its surf-folk laidback acoustic groove and light, jazzy drums; unfortunately the decision to have comparatively INTENSE LOUD VOCALS destroys this chilled out vibe.
The Verdict
Eh, it's nice I guess, but I'm struggling to think of a time you'd put it on. Perhaps if you wanted to wallow in self pity, or lose yourself in the moody, occasionally haunting, quality of his vocal and songs.
It's proof that there is always a place for safe music in the world, music that takes no risks and asks for none in return.
But that's really all that can be said for it.
My rating: ** and a half
Standout Tracks
New Shoes
Autumn
Jenny Don't Be Hasty
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